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AUTOBIOGRAPHY 


OF 


ANTON    RUBINSTEIN. 


AUTOBIOGEAPHY 


ANTON    EUBINSTEIN 


1829-1889 


TRANSLATED  FROM   THE  RUSSIAN 


By  aline   DELANO 


BOSTON 
LITTLE,   BROWN,  AND    COMPANY 

1890 


Copyright,  1890, 
By  Little,  Beown,  and  Company. 


Unitirsitt  Press: 
John  Whson  and  Son,  Cambridge. 


PKEFACE. 


ON  the  18th  of  November,  1889,  Russia 
celebrated  the  Jubilee  of  her  greatest 
living  pianist  and  composer,  Anton  Rubin- 
stein. Although  from  time  to  time  various 
articles  and  criticisms  on  the  life  and  works 
of  the  famous  musician  have  been  pub- 
lished, the  biographical  details,  often  inac- 
curate, possessed  little  or  no  value.  It  is 
a  well-known  fact  that  Rubinstein  has 
always  shown  a  reluctance  to  talk  about 
himself  or  about  his  musical  career.  The 
idea  suggested  itself  that  it  would  be  well 
to  ask  him  to  contribute  materials  for  a 
brief  biography.  Having  gained  his  con- 
sent, a  stenographer  was  engaged  to  take 
down  from  the  musician's  own  lips  the 
story  of  his  life.  These  notes  were  after- 
ward  read   to    Rubinstein   and   corrected 


vi  Preface. 

under  his  supervision.  We  are  all  familiar 
with  his  activity  during  these  latter  years. 
Von  Bulow  once  called  him  the  Michael 
Angelo  of  music;  and  Rubinstein  has  said 
of  himself:  "  I  play  as  a  musician,  not  as  a 
virtuoso."  It  is  this  very  sincerity  that  has 
won  for  him  an  exclusive  position  among 
the  pianists  of  the  world.  When  beneath 
his  fingers  the  piano  alternately  sings  like 
a  human  voice  or  thunders  with  all  the 
force  of  an  orchestra,  it  is  not  easy  to  real- 
ize the  limited  compass  of  the  instrument. 
The  accounts  of  the  enthusiasm  aroused 
by  his  playing  seem  almost  fabulous.  In 
Spain  and  in  Italy  he  was  cheered  in  the 
streets.  His  first  appearance  in  America 
marks  a  new  era  in  its  musical  history. 
In  all  the  great  cities  of  Europe  the  crowds 
that  collected  around  the  ticket  offices, 
even  when  fourteen  successive  concerts  had 
been  announced,  were  so  great  as  to  re- 
quire the  presence  of  the  police  to  preserve 
order.  Among  the  delighted  audiences  of 
St.  Petersburg  and  Moscow,  who  enjoyed 
the  privilege  of  listening  to  his  historical 


Preface,  vii 

concerts,  no  true  lover  of  music  can  have 
failed  to  appreciate  that  educational  sig- 
nificance which  lent  to  them  a  double  value. 
His  programmes  were  for  the  most  part 
made  up  from  the  noted  works  of  the  great 
European  composers;  and  his  lectures  on 
the  history  of  piano-playing,  illustrated  as 
they  were  by  his  own  incomparable  render- 
ing of  the  masterpieces  of  every  land,  won 
universal  admiration.  The  Russian  people 
can  never  forget  its  debt  of  gratitude  to  the 
famous  composer,  philanthropist,  and  pa- 
triot; and  if  illustrious  men  be  the  chief 
jewels  in  a  nation's  crown,  then  Russia  may 
well  be  proud  to  claim  as  her  own  a  man 
whose  name  will  stand  inscribed  among  the 
foremost  in  the  history  of  Russian  music 
of  the  nineteenth  century. 

The  stimulating  example  of  genius  quick- 
ens the  pulse  of  the  nation,  and  Russia, 
the  cradle  of  giants,  still  mourns  the  loss 
of  Pushkin,  Ldrmontov,  Skdbelev,  Glinka, 
Daragomijski,  Ser6v,  and  others,  all  of 
whom  died  in  the  full  tide  of  their  vigor 
and  activity.     In  1887  Rubinstein  was  re- 


viii  Preface. 

appointed  to  the  directorship  of  the  St. 
Petersburg  Musical  Conservatory,  where 
he  still  continues  his  valuable  labors. 

The  supplement  consists  largely  of  what 
may  be  called  the  echoes  of  musical  criti- 
cism. They  are  taken  partly  from  the 
Russian  journals,  and  partly  from  a  pam- 
phlet printed  on  the  occasion  of  the  Rubin- 
stein Jubilee,  an  event  celebrated  by  all 
classes  of  the  vast  Russian  empire. 

ALINE    DELANO. 
Boston,  August,  1890. 


CONTENTS. 


CHAPTER  I. 

Page 
Birth.  —  My  motlier  my  first  teacher.  —  My  father 
and  our  family.  —  Removal  to  Moscow.  — 
Music  lessons.  —  V.  B.  Grunberg  and  her  daugh- 
ter Julia  Lvovna.  —  A.  I.  Villoing.  —  The  first 
concert.  —  Going  abroad 1 

CHAPTER  n. 

In  Paris.  —  Liszt,  Chopin,  and  other  celebrities.  — 
In  Holland.  —  Cliildren-artists.  —  In  London.  — 
The  musical  memory  —  Divided  and  united 
Germany.  —  In  the  Winter  Palace.  —  Emperor 
Nicholas  and  the  Imperial  Family 12 

CHAPTER   HI. 

Return  to  Moscow. — My  departure  for  Berlin. — 
Dehn,  the  teacher  of  counterpoint.  —  Mendels- 
sohn and  ^leyerbeer.  —  My  father's  death.  — 
Brother  Nicholas.  —  My  first  appearance  as  an 
author.  —  Robert  Schumann's  opinion  of  me.  — 
Departure  for  Vienna 22 


X  Contents. 


CHAPTER  IV. 

Page 
In  Vienna.  —  Letters  of  Introduction.  —  Hunger 
and    authorship.  —  Liszt's    visit.  —  Lessons.  — 
Return  to  Berlin 29 


CHAPTER  V. 

Residence  in  Berlin.  —  Echoes  of  revolution.  —  In 
the  streets  of  Berlin.  —  Dehn.  —  Fantastical  en- 
terprises. —  The  flutist  Heindl  and  Baron  Fulil   .    34 


CHAPTER  VI. 

On  the  frontier  of  the  fatherland.  —  Arrival  in  St. 
Petersburg.  —  Three  incidents 40 


CHAPTER  VII. 

In   St.  Petersburg.  —  Symphony  concerts  in  the 
University.  —  A.  I.  Fitztum.  —  K.  B.  Schuberth. 

—  The  Russian  Opera.  —  The  Grand  Duchess 
Helen  P^vlovna.  —  Emperor  Nicholas  and  his 
relations  to  musicians  and  artists.  —  La  Blache. 

—  Operas  of  "  Dmitri  Donskoi "  and  "  Thomas 
the  Fool."  —  A.  M.  Gede'bnov  and  the  singer 
Biilachov 56 


Contents.  xi 


CHAPTER  Vin. 

Page 
Life  abroad.  —  In  Moscow  at  the  time  of  the  coro- 
nation of  the  Emperor  Alexander  II.  —  At  Nice 
in  the  suite  of  the  Grand  Duchess  Helen.  —  The 
conception  of  the  Russian  Musical  Society      .    .    72 


CHAPTER  IX. 

Vassili  Aleks^yevich  Kologrivov.  —  Foundation  in 
St.  Petersburg  of  the  Russian  Musical  Society, 
now  the  Imperial.  —  My  first  idea  of  founding 
the  degree  of  Bachelor  of  Music  in  the  depart- 
ment of  music.  —  Friends  and  opponents  of  the 
Russian  Musical  Society.  —  Ser6v.  —  The  first 
concerts  of  the  Russian  Musical  Society.  —  A 
new  feature  of  musical  education  in  Russia  .    .    85 


CHAPTER  X. 

Musical  classes  in  the  Michael  Palace.  —  The 
teachers  and  scholars.  —  The  Music  School.  — 
The  Conservatory  —  The  first  professors  and 
the  first  graduating  classes  of  pupils  of  both 
sexes. —  Relations  of  society  to  the  Conserva- 
tory, and  its  demands  upon  it.  —  Services  ren- 
dered to  Russia  by  the  Conservatory     ....  103 


xii  Contents, 


CHAPTER  XI. 

Page 
Leaving  the  Conservatory.  —  My  concerts.  —  Ar- 
tistic tour  in  America.  —  Wieniawski.  —  The  dif- 
ferent degrees  of   musical  appreciation  in  the 
different  nations 112 


CHAPTER  Xn. 

My  articles  on  music,  and  my  various  musical 
works.  —  Historical  concerts  in  the  principal  cities 
of  Europe.  —  Entrance  upon  my  second  terra  as 
Director  of  the  Conservatory.  —  My  memoranda 
and  projects.  —  Reforms  in  the  organization  of 
music  in  Russia  regarded  as  one  of  the  most 
effective  instruments  for  popular  education   .    .  121 


SUPPLEMENT. 


Rubinstein  as  a  composer 141 

Rubinstein  as  a  pianist .  168 


AUTOBIOGRAPHY 

OF 

ANTON  GRIGORIEVITCH  RUBINSTEIN. 

1829-1889. 


CHAPTER  I. 

Birth.  —  My  mother  my  first  teacher.  —  My  father  and 
our  family.  —  Removal  to  Moscow.  —  Music 
lessons.  —  V.  B.  Griinberg  and  her  daughter  Julia 
Lvovna.  —  A,  I.  Villoing. — The  first  concert, — 
Going  abroad. 

1829-1840. 

I  WAS  born  on  the  16th  of  November, 
1829,  in  Vichvatijnetz,  a  village  on 
the  Dniester,  near  the  frontier  of  the 
government  of  Podolsk  and  Bessarabia. 
This  village  lies  about  thirty  versts^  from 
the  city  of  Dubosar,  and  perhaps  fifty  versts 
from  Balta.  It  is  only  within  a  short  time 
that  I  have  learned  the  exact  date  of  my 

^  One  verst  is  about  three-fourths  of  a  mile.  —  Tr. 
1 


2  Autobiography  of  Rubinstein. 

birth,  my  ignorance  of  which  was  due  to 
the  lapse  of  memory  on  the  part  of  my 
venerable  mother.  The  result  of  recent 
examinations  of  the  local  documents  seems 
to  prove  beyond  a  doubt  that  the  16th  of 
November,  1829,  must  have  been  my  birth- 
day ;  but  having  all  my  life  celebrated  the 
same  on  the  18th,  now  that  I  am  in  ray 
sixtieth  year  it  is  rather  late  to  alter 
this  family  fgte-day,  and  so  I  shall  continue 
.to  celebrate  the  18th  of  November. 

My  mother  Kalferia  Christoforovna,  a 
Levenstein  by  birth,  was  a  native  of  Prus- 
sian Silesia,  where  she  had  received  a  fair 
education,  especially  in  music,  and  was 
thereby  enabled  to  instruct  her  children ; 
and  to  her  I  owe  a  debt  of  gratitude,  —  for 
.she  was  my  first  music-teacher. 

My  father,  Gregori  Romanovich,  a  Rus- 
sian subject  of  the  town  of  Bcrdichev,  had 
leased  a  tract  of  land  in  the  village  of 
Vichvatijnetz.  We  were  a  large  family. 
Nicholas,  the   oldest   son,   died    in   child- 


Autobiography  of  Rubinstein.         3 

hood ;  Jacob,  the  second  born,  became  a 
doctor,  and  died  in  1863 ;  I  am  the  third, 
and  the  fourth  was  again  called  Nicholas ; 
he  was  born  in  1835,  and  has  occupied  the 
post  of  Director  of  the  Moscow  Conservatory. 
We  had  two  sisters:  Lub6v,who  married  the 
attorney  Weinberg  in  Odessa,  and  Sophia, 
who  with  our  mother  also  lives  in  Odessa. 

The  moderate  income  derived  from  the 
lands  in  Vichvatijnetz  was  divided  equally 
between  my  father,  his  brother,  and  his 
brother-in-law. 

M}'  earliest  recollections  are  of  a  journey 
to  Moscow  in  a  roomy  covered-wagon, 
undertaken  by  the  three  families,  with  all 
the  children  and  servants,  —  nothing  less 
than  a  tribal  migration.  We  reached  the 
city  and  crossed  the  Pokrdvski  bridge. 
Here  we  hired  a  large  house  belonging  to 
a  certain  Madame  Pozniakov ;  it  was  sur- 
rounded by  trees,  and  stood  near  a  pond 
beyond  the  river  lowza.  This  was  in  1834 
and  1835. 


4  Autobiography  of  Rubinstein. 

After  our  removal  to  Moscow,  we  were 
for  a  time  fairly  well  off  while  the  three 
families  lived  and  worked  together.  This 
arrangement  however  did  not  last  long. 
My  father  separated  from  his  brother  and 
brother-in-law,  and  with  my  mother  and 
the  children  removed  beyond  the  Ordinka^ 
into  the  Zamdskvor^tchie,^  where  he  started 
a  pin  and  pencil  factory. 

Though  our  manage  was  a  modest  one, 
we  always  had  what  for  those  times  would 
have  been  called  a  fairly  good  piano, — 
square,  like  a  table,  as  they  were  made  then. 
When  I  was  between  five  and  six  years 
old,  my  mother  began  to  give  me  lessons 
in  music,  and  not  only  to  me,  but  to  my 
brothers  as  well.  She  devoted  more  time 
to  me  than  to  the  others,  perhaps  because 
she  soon  discerned  my  love  for  music,  or  at 
any  rate  the  ease  with  which  I  understood 
and  assimilated  it.    The  lessons  she  gave  us 

1  A  part  of  Moscow.  —  Tr. 

2  Literally,  beyond  the  River  Moscow.  —  Tr. 


Autobiography  of  Rubmstein.  5 

were  not  only  serious,  but  often  severe,  as 
in  accordance  with  the  method  of  teaching 
common  in  those  days  ;  but,  as  she  after- 
wards admitted,  she  had  never  conceived 
any  definite  plan  for  my  future  musical 
career,  —  teaching  me  simply  because  she 
was  a  musician  herself.  Our  repertoire 
included  Hummel,  Hertz,  Moscheles,  Kalk- 
brenner,  Czerny,  Diabelli,  Clementi,  and 
other  musical  celebrities  of  those  days ; 
these  I  studied  when  quite  a  child. 

Meanwhile  our  good  friend,  Mme.  Barbara 
Griinberg,  who  had  married  a  doctor,  came 
to  Moscow  with  her  daughter  Julia,  a  girl 
of  ten,  even  then  a  remarkable  pianist,  and 
who  had  already  begun  to  give  concerts 
in  Moscow.  She  afterward  married  Sen- 
ator   Tiirin,!  and    is   now   a   neighbor  of 

^  It  is  at  this  time  that  Mme.  Turin,  nee  Griinberg, 
writes  as  follows  of  the  great  pianist  and  composer ; 

"  Antoine  Rubinstein  etait  de'ja  elfeve  de  sa  mere  lors- 
que  a  Moscou  nous  le  vimes  pour  la  premiere  fois.  II 
etait  age  de  Imit  ans,  et  c'e'tait  un  enfant  charmant,  qui 


6  Antobiograpliy  of  Rubinstein. 

mine  in  St.  Petersburg.  They  often  vis- 
ited us,  and  it  was  Julia's  progress  that 
first  inspired  my  mother  with  the  idea  of 
a  more  systematic  musical  education  for 
me.  Conscious  of  her  own  inability  to 
continue  that  instruction  to  which,  in  view 
of  my  musical  talent,  she  deemed  me  en- 
titled, she  made  inquiries  for  the  best 
piano-teacher  in  Moscow.  The  Griinbergs 
told  her  of  Alexander  Villoing,  who  at 
that  time  was  thought  to  stand  at  the 
head  of  his  profession  in  Moscow.  He 
was  invited  to  the  house,  and  I  think  had 
known  us   before,  when  we  lived   beyond 

dtonnait  tout  le  monde  par  la  pr^cocite  de  son  talent. 
Madame  Rubinstein  avait  tout  lieu  d'etre  fiere  de  son 
fils  ;  raais  ayant  plusieurs  enfants,  elle  ne  pouvait  se  con- 
sacrer  toute  entiere  b,  I'e'ducation  musicale  du  jeune  An- 
toine.  Ma  mere  le  lui  fit  observer,  et  elle  insista  pour 
que  I'enfant  ffit  confie  k  Villoing,  ce  qui  arriva  en 
efEet." 

Madame  Turin,  nee  Griinberg,  a  pupil  of  Henselt 
and  Mozart,  became  a  famous  pianist.  She  gave  con- 
certs at  the  courts  of  St.  Petersburg  and  Vienna,  and 
in  other  European  cities,  with  great  success. 


Autobiography  of  Rubinstein.  7 

the  Pokrovski  bridge.  However  that  may 
have  been,  he  came  and  heard  me  play. 
My  mother  then  told  him  how  she  had 
earnestly  hoped  that  he  would  consent  to 
become  my  teacher,  but  that  owing  to  our 
limited  means  she  was  unable  to  pay  a 
large  price  for  lessons.  Villoing  hastened 
to  reply  that  he  was  not  pressed  for  money, 
and  would  willingly  undertake  my  musical 
education  free  of  charge.  And  with  him 
my  lessons  began  and  ended,  for  no  other 
teacher  did  I  have. 

In  my  eighth  year  I  began  to  study  with 
Villoing,  and  in  my  thirteenth  my  musical 
education  was  completed,  and,  as  I  said  be- 
fore, I  had  no  other  teacher. 

Villoing  especially  devoted  much  time 
and  pains — with  most  successful  results  — 
to  the  correct  position  of  my  hands.  He 
was  most  particular  in  this  regard,  as  well 
as  in  the  care  he  bestowed  on  the  produc- 
tion of  a  good  tone.  His  musical  method 
is   well   known ;   and  although  he  played 


8  Autobiography  of  Rubinstein. 

but  little  himself,  lie  was  unquestionably 
one  of  the  best,  if  not  the  very  best  profes- 
sor of  music.  To  him  and  to  no  one  else 
am  I  indebted  for  a  thorough,  firm  foun- 
dation in  technique.,  —  a  foundation  which 
could  never  be  shaken.  And  let  me  here 
affirm  that  in  all  my  life  I  have  never  met 
a  better  teacher.  Although  in  his  latter 
years  he  became  somewhat  exacting,  he 
was  at  the  time  when  I  received  lessons 
from  him,  the  very  best  teacher  possible. 
He  insisted  upon  certain  details  which 
proved  of  the  utmost  importance  to  me 
as  a  student  of  the  piano.  A  patient, 
although  strict  master  —  the  latter  quality 
no  less  essential  than  the  former — Yilloing 
was  soon  on  such  intimate  terms  with  me 
that  he  seemed  more  like  a  friend  or  a 
second  father.^ 

^  Later,  when  already  a  man  advanced  in  years, 
he  married  the  sister  of  Bachmetev,  the  director  of 
the  Imperial  Chapel  Choir,  — a  union  which  resulted 
in  misery.  He  died  recently  at  the  age  of  seventy, 
leaving  but  little  money  and  a  few  violins.  He  died 
poor,  as  artists  are  wont  to  die.  —  A.  K. 


Autobiography  of  Rubinstein.  9 

After  we  removed  to  the  Ordiiika,  he 
visited  us  almost  daily,  and  was  indefati- 
gable in  his  instructions.  He  evidently 
found  them  a  pleasure  and  a  recreation. 
I  cannot  call  them  lessons  ;  they  were  a 
musical  education. 

On  the  11th  of  July,  1839,  I,  heing  in 
my  tenth  year,  yielded  to  the  desire  of 
Villoing  and  gave  my  first  public  con- 
cert in  Moscow.i  During  the  next  three 
years  I  travelled  with  my  master  all  over 
Europe.  .  .  .  Before  leaving  Moscow  I 
must  mention  that  my  father  was  not 
prosperous  in  business  ;  and  yet  I  do  not 
remember  that  he  seemed  at  all  anxious 
about  his  affairs.  However,  we  children 
gave  very  little  thought  to  our  father's 
business  matters.  During  the  course  of 
my  studies  with  Yilloing  my  mother  fol- 

1  In  the  "  Galatea,"  a  Moscow  daily  of  that  period, 
we  find  that  in  this,  his  first  public  concert,  Rubin- 
stein played  an  Allegro  from  Hummel's  Concerto,  an 
Andante  of  Thalberg,  and  four  minor  pieces  by  Field, 
Liszt,  and  Henselt. 


10        Autobiography  of  Rubinstein. 

lowed  them  with  close  attention,  and  in 
his  absence  watched  over  my  daily  exer- 
cises and  the  preparation  of  my  lessons. 
I  have  already  said  that  in  those  days 
the  method  of  teaching  was  very  stern, — 
ferules,  punches,  and  even  slaps  on  the  face 
were  of  frequent  occurrence.  ...  In  these 
times  one  can  form  but  a  slight  conception 
of  the  degree  to  which  discipline,  both  in 
the  home  and  the  school,  was  carried.  I 
cannot  say  that  I  personally  should  advo- 
cate severity,  although  I  am  a  foe  to  law- 
lessness ;  a  certain  amount  of  discipline 
is  needful  and  formerly  it  was  enforced, 
but  nowadays  it  can  hardly  be  said  to  exist 
at  all.  ... 

Absorbed  in  my  music,  I  do  not  remem- 
ber when  or  how  I  learned  my  alphabet. 
While  still  in  my  eleventh  year  I  was 
travelling  over  Europe,  appearing  even  at 
that  early  age  on  the  concert  platform 
with  no  thought  of  shyness.  I  looked  at 
my  concerts  in  the  light  of  a  plaything, 


Autobiography  of  Rubinstein.         1 1 

like  a  child  that  I  was,  and  as  I  was  re- 
garded. I  remember  on  one  occasion,  in 
1843,  when  I  returned  to  St.  Petersburg 
with  Villoing,  that  after  a  benefit  concert 
I  was,  at  the  desire  of  the  Empress  Alex- 
andra,^  placed  on  a  table  and  caressed  by 
Her  Majesty. 

^  Wile  of  Emperor  Nicholas.  —  Tr. 


CHAPTER  II. 

In  Paris.  —  Liszt,  Chopin,  and  other  celebrities.  —  In 
Holland.  —  Children-artists.  —  In  London.  —  The 
musical  memory.  —  Divided  and  united  Germany. 
—  In"the  Winter  Palace  —  Emperor  Nicholas  and 
the  Imperial  family. 

1840-1843. 

MY  journey  abroad  in  December  of 
1840  came  about  in  this  way.  My 
mother,  anxious  to  make  of  me  a  first-class 
artist,  expressed  to  Villoing  her  wish  to 
place  me  in  the  Paris  Conservatory.  Vil- 
loing approving  the  plan  offered  to  take 
me  there.  We  left  Moscow  in  a  stage,  and 
travelled  by  way  of  St.  Petersburg.  I  was 
not  however  admitted  into  the  Paris  Con- 
servatory. Whether  they  considered  me 
too  young,  or  too  far  advanced  in  music,  I 
cannot  tell,  but  1  suspect  that  Villoing, 
who  regarded  me  as  his  own  creation,  was 
reluctant  to  part  with  me,  or  to  intrust  my 
musical  education  to  any  other  than  him- 


Autobiography  of  Rubinstein.        13 

self,  even  to  the  teachers  in  the  Paris  Con- 
servatory. At  all  events  I  was  never 
admitted.  ...  At  that  time  Europe  was 
overrun  by  a  host  of  "  infant  prodigies," 
from  ten  to  twelve  years  of  age,  gifted 
in  various  ways,  who  were  exhibited  and 
admired  as  phenomenal.  ...  I  was  among 
the  number.  .  .  .  For  a  whole  year  I  re- 
mained in  Paris,  but  had  no  lessons,  ex- 
cept in  music  with  Villoing,  who  jealously 
guarded  me  from  all  approach ;  not  a  be- 
ing could  gain  access  to  me !  1  gave 
several  concerts,  generally  in  the  piano 
rooms  of  some  famous  factory,  such  as 
Erards's  and  others.  At  one  of  these  con- 
certs Liszt,  Chopin,  Leopold  Meyer,  and 
other  musical  celebrities  were  present. 
This  concert  was  given  toward  the  end  of 
the  year  1841,  before  a  large  audience,  and 
although  many  other  artists  besides  myself 
sang  and  played  on  the  occasion,  the  pro- 
ceeds were  to  be  used  for  my  benefit  only. 
...  It  was  then  that  I   played  with   the 


14         Atitohiography  of  Rubinstem. 

Belgian  violinist  Yieuxtemps.  ...  I  can- 
not remember  the  programme.  .  .  .  One 
of  the  programmes  of  these  child-concerts 
is  still  in  existence,  and  I  lately  saw  it  in 
Holland.  Villoing  was  highly  gratified 
with  my  success ;  as  for  myself,  1  looked 
upon  all  this,  as  I  have  said  before,  in 
the  light  of  an  amusement.  And  1  must 
confess  that  although  my  tutor  was  strict, 
1  myself  was  a  great  rogue. 

How  many  famous  people  I  met  at  that 
time !  I  received  many  invitations  and 
made  many  acquaintances,  but  I  was  too 
young  at  the  time  to  remember  very  much 
about  it.  I  have  not  however  forgotten 
my  first  visit  to  Chopin,  which  has  al- 
ready been  described  in  my  historical  lec- 
tures. .  .  .  Nine  years  later  Chopin  died. 

The  year  spent  in  Paris  passed  like  a 
dream,  but  as  far  as  regarded  my  develop- 
ment, it  was  absolutely  unprofitable. 

The  Queen  of  Holland,  Anna  Pavlovna,^ 
*  A  Russian  grand  duchess.  —  Tr. 


Autobiography  of  Rubinstein.        15 

had  not  at  that  time  lost  her  hearing  ;  she 
understood  music  and  was  fond  of  it,  and 
at  her  invitation  I  played  in  the  palace. 
This,  my  first  appearance  at  any  court, 
took  place  at  the  time  of  the  visit  of  her 
nephew,  the  Grand  Duke  Constantin,  then 
a  youth  of  fourteen,  who  accompanied  by 
his  tutor  Litk^  was  making  his  first  tour 
of  Europe,  and  whose  intellect,  wit,  and 
amiability  had  already  charmed  all  who 
saw  him.  The  Grand  Duke  was  most  kind 
and  attentive  to  me.  .  .  . 

At  this  time  Villoing  was  about  to  take 
me  to  Germany.  Liszt  was  then  in  the 
apogee  of  his  glory.  In  the  domain  of 
music  he  was  a  king,  a  god ;  his  counsels, 
his  verdicts,  were  revered  as  the  law  and 
the  gospel.  It  was  he  who  advised  Villo- 
ing to  take  me  to  Germany  to  complete 
my  musical  education.  And  thus  we  trav- 
elled through  Holland,  England,  Norway, 
and  Sweden  into  Germany,  giving  con- 
certs wherever  we  went. 


1 6        Autobiography  of  Rubinstein. 

As  I  have  before  stated,  infant-virtuosi 
were  quite  the  fashion.  Among  others  I 
recollect  Sophie  Bohrer,  the  heroine  of  a 
romantic  and  tragic  story.  Her  very  ex- 
istence is  now  a  matter  of  dispute ;  some 
assert  that  she  is  still  living,  others  main- 
tain that  she  is  dead.  I  also  remember 
the  boy  pianists,  Fitch,  the  Englishman 
Palmer,  the  two  sister  violinists,  Maria  and 
Theresa  Milanolo.  A  certain  virtuoso- 
mania  seems  to  have  prevailed  in  1848. 
Liszt  stood  at  the  head  of  this  movement ; 
a  virtuoso  playing  was  demanded ;  bril- 
liancy and  style  were  required.  The  re- 
volution of  1848,  which  made  great  changes 
in  the  policy  of  nations,  also  gave  a  new 
direction  to  music ;  it  created  a  demand 
for  the  very  soul  of  art,  and  thus  we 
reached  the  climax,  the  ne  plus  ultray 
culminating  in  Wagner.  .  .  . 

In  London  1  was  graciously  received  by 
the  young  and  then  handsome  Queen  Vic- 
toria, and  subsequently   in  all   the   aris- 


Autobiography  of  Rubinstein.        17 

tocratic  circles.  Although  but  a  boy  of 
twelve  I  felt  no  shyness  or  timidity  in  the 
presence  of  these  formal  lords  and  ladies. 
My  musical  memory  at  this  time  and  for 
many  years  later,  in  fact  until  my  fiftieth 
year,  was  prodigious  ;  but  since  then,  I  have 
been  conscious  of  a  growing  weakness.  I 
begin  to  feel  an  uncertainty ;  something 
like  a  nervous  dread  often  takes  possession 
of  me  while  1  am  on  the  stage  in  the  pres- 
ence of  a  large  audience.  .  .  .  One  can 
hardly  imagine  how  painful  this  sensation 
may  be.  I  often  fear  lest  memory  betray 
me  into  forgetfulness  of  a  passage,  and  that 
I  may  unconsciously  change  it.  The  public 
has  always  been  accustomed  to  see  me  play 
without  notes,  for  I  have  never  used  them ; 
and  I  will  not  allow  myself  to  rely  upon 
my  own  resources  or  ability  to  supply  the 
place  of  some  forgotten  passage,  because 
I  know  that  there  will  always  be  many 
among  my  audiences  who,  being  familiar 

with  the  piece  I  am  performing,  will  readily 
2 


1 8        Autobiography  of  Rubinstein. 

detect  any  alteration.  This  sense  of  un- 
certainty has  often  inflicted  upon  me  tor- 
tures only  to  be  compared  with  those  of 
the  Inquisition,  while  the  public  listening 
to  me  imagines  that  I  am  perfectly  calm. 
Yes,  this  nervous  agitation  has  developed 
itself  since  my  fiftieth  year.  Previous  to 
that  time,  more  especially  during  the  early 
period  of  which  I  am  now  speaking,  these 
sensations  were  unknown.  .  .  . 

I  was  entirely  in  the  hands  of  Villoing. 
He  arranged  the  programmes  for  the  con- 
certs, and  drilled  me  ;  I  obeyed  his  com- 
mands without  demur.  But  then,  as  I 
said  before,  I  was  a  healthy  and  roguish 
youngster.  .  .  . 

Among  the  German  countries  we  visited 
were  Prussia,  Austria,  Saxony,  and  many 
other  courts  of  the  petty  German  sover- 
eigns. ...  No  one  will  refuse  to  ac- 
knowledge the  fact  that  divided  Germany 
did  good  service  in  the  cause  of  science, 
literature,   and   art.     United   Germany   is 


Autobiography  of  Rubinstein.         19 

politically  strong,  but  it  makes  no  such 
advances  in  the  domain  of  the  fine  arts. 

In  1843,  after  a  four  years  residence 
abroad,  we  returned  to  St.  Petersburg.  I 
■was  summoned  to  the  Winter  Palace  and 
presented  to  the  Imperial  family.  Em- 
peror Nicholas  received  me  with  that  in- 
expressibly charming  affability  of  manner 
which  he  knew  so  well  how  to  employ.  He 
embraced  me  as  he  jestingly  exclaimed, 
*'How  is  your  Excellency?" 

At  that  time  I  was  a  devoted  imitator  of 
Liszt,  of  his  manners  and  movements,  his 
trick  of  tossing  back  his  hair,  his  way  of 
holding  his  hands,  of  all  the  peculiar  move- 
ments of  his  playing,  which  naturally  called 
forth  a  smile  from  those  who  had  heard 
Liszt,  and  perhaps  also  increased  the  in- 
terest felt  in  the  boy-virtuoso.  My  concerts 
were  quite  successful,  and  I  received  many 
gifts.  Presents  from  the  public  were  not 
in  vogue  at  that  time.  I  had  also  brought 
many  presents   from   Germany,  but   they 


20        Autobiography  of  Rubinstein. 

were  inferior  to  those  1  received  in  Russia, 
particularly  to  those  that  were  given  me 
after  playing  in  the  palace.  These  gifts 
were  both  elegant  and  costly.  Those  which 
were  sent  later  to  the  house,  through  the 
Court  office,  were  less  valuable 

I  spoke  of  imitating  Liszt.  I  had  often 
heard  him  in  Paris,  when  he  was  at  the 
zenith  of  his  glory  (1839-1848),  and  had 
been  deeply  impressed  by  his  playing. 
Rubini  too  made  a  very  similar  impres- 
sion on  me.  The  charm  of  his  voice  was 
quite  beyond  conception,  and  his  power 
of  overcoming  difficulties  was  really  mar- 
vellous. He  carried  his  listeners  by  storm. 
Suffice  it  to  say  that  when  the  best  voices 
in  the  Italian  opera  were  invited  from 
Paris  to  St.  Petersburg,  Rubini's  sing- 
ing brouglit  tears  to  the  eyes  of  —  guess 
whom?  Emperor  Nicholas  himself !  Fancy 
Emperor  Nicholas  shedding  tears  I  Ru- 
bini's singing  produced  so  powerful  an 
effect    on    my    senses    that    1    strove   to 


Autobiography  of  Rubinstein.        21 

imitate    the   sound    of    his   voice    in    my 
playing. 

I  remember  with  gratitude  the  many 
kindnesses  showered  upon  me  by  the  Im- 
perial family,  Tlie  Grand  Duke  Constan- 
tin  had  already  spoken  of  me  to  his 
mother,  the  Empress,  as  well  as  to  his 
brothers  and  sisters,  and  had  told  them 
of  our  previous  acquaintance  in  Holland, 
saying  many  kind  things  in  my  praise, 
and  all  were  most  gracious  to  me.  They 
were  a  delightful  family.  Both  the  grand 
dukes  and  their  sisters  were  well  grown 
and  handsome.  .  .  .  The  Empress  was  very 
fond  of  music,  and  the  Emperor  was  a 
zealous  patron  and  lover  of  art,  and  a  fairly 
good  musician  and  artist  in  his  own  per- 
son. He  had  a  good  deal  of  talent  for 
music,  and  an  excellent  musical  memory. 
I  heard  him  once  hum  through  the  whole 
opera  of  "Fenella."  He  knew  by  heart  the 
music  of  the  ballet  "  Catherine,  or  the 
Brigand's  Daughter "  —  but  I  shall  re- 
turn to  him  later. 


CHAPTER  III. 

Return  to  Moscow.  —  My  departure  for  Berlin.  — 
Dehn,  the  teacher  of  counterpoint.  —  Mendelssohn 
and  Meyerbeer.  —  My  father's  death.  —  Brother 
Nicholas.  —  My  first  appearance  as  an  author.  — 
Robert  Schumann's  opinion  of  me. — Departure 
for  Vienna. 

1843-1846. 

ONCE  more  I  found  myself  at  home  in 
Moscow.  I  had  brought  back  no 
money,  since  the  proceeds  of  the  concerts 
given  during  our  travels  had  been  ex- 
pended in  travelling  expenses ;  but  I 
brought  several  valuable  presents,  —  cost- 
ly articles  studded  with  diamonds  and 
brilliants,  such  as  artists  in  these  days 
rarely  receive.  These  were  gifts  from 
members  of  the  reigning  families  of  Russia 
and  the  other  European  courts,  as  well  as 
from  private  individuals.  I  had  received 
no  gifts  from  the  public.  At  that  time 
laurel  wreaths  had  not  come  into  fashion, 


Autobiography  of  Ru]^instcin.         23 

—  but  wlio  does  not  get  them  now  !  The 
needs  of  mj  family  were  urgent.  The 
presents  were  pledged  to  a  government 
collateral  banking-house,  and  the  money 
thus  received  was  spent.  It  is  needless 
to  remark  that  the  things  were  never 
redeemed. 

Meanwhile  my  mother  was  not  fully 
satisfied  with  my  progress.  My  wise  and 
anxious  preceptress  with  unerring  judg- 
ment at  once  perceived  how  very  little  had 
been  done  by  way  of  perfecting  my  musical 
education,  and  also  that  if  I  were  to  go  on 
giving  concerts,  I  should  make  no  further 
progress ;  and  she  realized  the  necessity 
for  serious  study.  Hence  she  decided  to 
go  at  once  to  Berlin,  taking  me,  my  sister 
Luba,  and  my  brother  Nicholas,  who  be- 
sides his  excellent  technique  had  already 
given  signs  of  ability  in  original  composi- 
tion ;  in  fact  he  began  to  compose  at  the 
age  of  five. 

In  1844   we   settled    in   Berlin.      This 


24        Autobiography  of  Rtihmstcin, 

ended  our  relations  with  Villoing,  and  after 
my  thirteenth  year  I  became  my  own 
teacher.  We  remained  in  Berlin  till  1846. 
All  this  time  1  had  lessons  from  Dehn,  the 
famous  teacher  of  harmony  and  counter- 
point ;  there  also,  I  learned  the  languages, 
which  I  acquired  with  great  facility.  I 
studied  the  catechism  and  Russian  gram- 
mar with  Father  Dormidont,  a  priest  of  the 
Orthodox  Greek  Church,  whose  daughter, 
Madame  Kochetov  by  marriage,  but 
better  known  under  the  pseudonym  of 
Madame  Alexandrov,  became  quite  a 
prominent  singer,  and  a  professor  in 
the  Moscow  Conservatory.  In  the  other 
branches  I  had  various  teachers. 

Many  knew  me  in  Berlin  because  of  the 
concerts  I  had  given  there  when  a  child. 
During  this  period  however  (1844-1846)  I 
was  giving  no  concerts,  although  I  often 
played  in  society  and  at  the  clubs.  The 
Empress  Alexandra  visited  Berlin  about 
this  time,  and  my  brother  and  myself  were 


Autobiography  of  Rubinstein.         25 

invited  to  play  in  her  presence,  and  as 
usual  were  graciously  received.  The  costly 
presents  given  us  "were  sold  at  once,  and 
were  a  help  to  us  toward  defraying  our 
expenses  in  Berlin. 

As  to  Dehn,  my  teacher  in  counterpoint, 
of  whom  Glinka  afterward  took  lessons 
(Dehn  outlived  him,  dying  soon  after  1860), 
he  was  undoubtedly  the  finest  teacher  in 
harmony  in  Europe.  Marks,  another  of 
my  instructors,  of  whom  in  accordance 
with  the  advice  of  Mendelssohn  and  Meyer- 
beer I  took  lessons  in  the  theory  of  music, 
was  inferior  to  him. 

Mendelssohn  and  Meyerbeer  were  both 
good  friends  of  my  mother,  who  often 
visited  them  in  Berlin  and  took  counsel 
with  them  concerning  my  musical  educa- 
tion. Every  Sunday  my  brother  and  I 
called  upon  them.  Dehn  was  a  fine 
scholar  in  his  line,  and  had  a  faculty  for 
imparting  knowledge. 

Dehn   had  other  famous  pupils  besides 


26         Autobiography  of  Rubinstein. 

Glinka,  among  whom  were  Friedrich  Kiel 
and  mahy  others.  He  was  really  quite  an 
original  character.  1  took  but  few  lessons 
from  him  however,  for  in  1846,  when  but  a 
youth  of  sixteen,  I  started  alone  for  Vienna. 
My  individual  career  may  be  dated  from 
that  time,  —  a  career  in  which  joy  and  sor- 
row, abundance  and  penury,  ay,  even  to 
hunger,  followed  one  another;  an  expe- 
rience by  no  means  uncommon  to  men  who 
live  before  the  public. 

My  father  died  that  same  year  (1846), 
and  my  mother  with  my  sister  Luba  and 
brother  Nicholas  returned  to  Moscow,  where 
Nicholas  entered  the  University.  But  his 
frequent  music-lessons  and  numerous  con- 
cert engagements  left  him  insufficient  time 
for  the  study  required  from  a  University 
student.  However,  all  the  professors  were 
very  kind  and  indulgent  to  him,  and  in 
some  way  he  managed  to  graduate  either 
as  a  Student  or  as  a  Candidate  I  do  not 
remember  which. 


Autobiography  of  Rubinstein.        27 

At  the  time  of  my  residence  in  Berlin 
my  first  musical  composition  appeared  in 
print.  It  was  edited  by  Schlesinger,  one 
of  the  local  musical  editors,  in  1843.  It 
was  a  short  study  for  the  piano  written  in 
1842  on  the  poetical  subject  of  the  "  Un- 
dine.'* I  suppose  it  must  have  been  ap- 
proved by  Villoing,  but  it  was  absolutely 
without  Inlialt}    At  the  same  time  two  of 

•^  The  composition  of  which  Rubinstein  speaks 
thus  was  favorably  noticed  by  Schumann  in  1842. 
See  Gesammelte  Schriften  uber  Musik  and  Musiker 
von  Robert  Schumann  (4  Band).  Leipzig,  Georg 
Wigands  Veriag,  1854.  —  (1843.)  T.  IV. 

Kiirzere  Stiicke  fiir  Pianoforte.  A.  Rubinstein. 
«  Undine,"  —  Etude  fur  das  Pianoforte.     (1843.) 

Werk  I. 

Die  erste  Arbeit  des  talentvollen  Knaben,  der  sich 
als  Spieler  einen  schon  grossen  Ruhm  gemacht.  Ob 
er  auch  bedeutendes  productives  Talent  babe,  lasst 
sich  nach  dieser  vorliegenden  ersten  Leistung  weder 
behaupten,  noch  verneinen.  Doch  in  dem  kleinen 
Stiicke  das  Melodische  vorwiegt,  ohne  gerade  eine 
schone  neue  Melodie  zu  bieten,  lasst  hofFen,  dass  er 
das  wahre  Wesen  der  Musik  zu  begreifen  angefangen 


28        Autobiography  of  Rubinstein. 

my  minor  compositions  were  edited  in 
Cologne,  one  of  which  was  even  accom- 
panied by  my  portrait.  It  is  hardly  neces- 
sary to  remark  that  neither  then,  nor  in 
the  course  of  the  years  immediately  follow- 
ing, did  my  works  bring  me  any  return 
worth  mentioning,  and  I  considered  myself 
quite  lucky  if  1  found  a  publisher  willing 
to  print  them,  an  experience  common  to 
most  young  composers. 

und  sich  in  diesem  Sinne  iranaer  glucklicher  ent- 
wickeln  werde.  Der  Titel  der  Etude  findet  seinen 
Grund  zumeist  in  der  wellenformigen  Art  der  Be- 
gleitungsfigur;  etwas  Originelleres,  durch  und  durch 
Gelungenea  konnten  wir  von  jungen  Jahren  nicht 
erwarten.  In  keinem  Falle  diirften  aber  unreine 
Hai-monien  stehen  bleiben,  wie  — 


^m 


-%. tr 


^==^—^-- 


jeder  irgend  leidlich  gewandte  Musiker  hatte  ihm  die 
Stelle  verbessem  konnen. 


.      CHAPTER  IV. 

In  Vienna.  —  Letters  of  introduction.  —  Hunger  and 
authorsliip.  —  Liszt's  visit  —  Lessons.  —  Return  to 
Berlin. 

1846-1848. 

I  WENT  to  Vienna  in  1846  because  that 
city  was  one  of  the  principal  musical 
centres  in  Europe,  and  there  too  lived 
Liszt,  the  king  of  musicians,  on  whose  help 
and  protection  I  relied.  These  hopes  how- 
ever were  at  first  dashed  by  the  cold  and 
distant  manner  with  which  Liszt  received 
me.  He  bade  me  remember  that  a  talented 
man  must  win  the  goal  of  his  ambition  by 
his  own  unassisted  efforts.  This  estranged 
me  from  him.  I  made  several  other  calls, 
having  brought  with  me  some  ten  or  fif- 
teen letters  of  introduction  from  N.  N., 
the  Russian  Ambassador,  and  his  wife  in 
Berlin.     I  made  the  calls  and  left  the  let- 


30        Autobiography  of  Rubinstein. 

ters.  Then  I  waited  for  replies  and  invita- 
tions. Silence  was  the  sole  response.  After 
my  first,  second,  third,  and  fourth  letters 
had  met  with  a  similar  fate,  I  fell  to  pon- 
dering over  the  mystery.  What  could  it 
mean  ?  I  was  utterly  at  a  loss.  "  Let  me 
look,"  I  thought,  "  and  see  what  is  said 
about  me  in  these  letters  of  introduction," 
quite  a  pile  of  which  still  remained  unde- 
livered. I  opened  one  of  them,  and  what 
did  I  read !  The  following.  The  ambassa- 
dor and  his  wife  introduced  me  with  words 
to  this  effect :  — 

My  Dear  Countess  So  axd  So,  —  To  the 
position  which  we,  the  ambassador  and  his 
wife,  occupy,  is  attached  the  tedious  duty  of 
patronizing  and  recommending  our  various 
compatriots  in  order  to  satisfy  their  often- 
times clamorous  requests.  Therefore  we 
recommend  to  you  the  bearer  of  this,  one 
Rubinstein. 

The  riddle  was  solved.  I  understood  at 
once  the  meaning  of  the  mysterious  silence. 


Autobiography  of  Rubinstein.        31 

and  straightway  flung  the  remaining  letters 
in  the  fire. 

In  Vienna  I  gave  lessons,  mostly  at 
cheap  rates ;  I  lived  in  the  attic  of  a  large 
house,  and  often  for  two  and  three  days  in 
succession  I  had  not  money  enough  to  pay 
for  a  dinner  at  the  nearest  restaurant,  and 
so  I  went  without.  The  room  that  I  had 
hired  was  fairly  bare,  but  soon  I  had 
crowded  every  corner  and  literally  carpeted 
the  floor  with  my  writings.  And  what  did 
I  not  write  in  these  days  of  hunger ! 
Every  sort  of  composition,  not  only  in  the 
department  of  music,  operas,  oratorios, 
symphonies  and  songs,  but  articles  philoso- 
phic, literary,  and  critical  as  well.  In  my 
"  attic  "  I  even  wrote  a  paper  for  the  bene- 
fit of  a  single  reader,  —  myself.  And  how 
often  I  suffered  from  hunger !  This  life  of 
poverty  lasted  a  year  and  a  half ;  and 
very  poor  I  was  in  those  days.  In  fact  it 
was  the  old  story  of  a  friendless  man 
struggling  on  without   help,  a   story  that 


32        Autobiography  of  Rubinstein. 

will  doubtless  repeat  itself  as  long  as 
the  world  lasts.  ...  It  was  now  two 
months  since  I  had  called  on  Liszt.  My 
prolonged  absence  had  at  last  reminded 
him  of  my  existence.  He  took  it  into  his 
head  to  pay  me  a  visit;  and  one  day  he 
made  his  way  up  to  my  attic  accompanied 
by  his  usual  retinue,  his  so-called  courtiers, 
who  followed  him  wherever  he  went,  —  a 
certain  prince,  a  count,  a  doctor,  an  artist ; 
all  ardent  admirers  and  servants  of  the 
master.  The  first  sight  of  my  quarters 
seemed  to  shock  the  whole  party,  more 
especially  Liszt  himself,  who  during  his 
sojourn  in  Moscow  had  visited  my  family 
and  knew  our  style  of  living.  He  showed 
however  much  tact  and  delicacy,  and  in  the 
most  friendly  manner  asked  me  to  dine  with 
him  on  the  same  day,  —  a  most  welcome 
invitation,  since  the  pangs  of  hunger  had 
been  gnawing  me  for  several  days.  After 
this  I  was  always  on  good  terms  with  Liszt 
until  the  time  of  his  death.     As  for  the 


Autobiography  of  Rubinstein.        33 

music  that  I  wrote  while  in  Vienna,  but 
a  small  part  of  it  appeared  in  print. 
Vienna  was  always  well  supplied  with 
publishers,  but  during  the  year  between 
1846  and  1847  I  had  only  ten  musical  works 
printed,  among  which  were  several  very 
short  pieces.  If  I  by  chance  received  a 
few  guldens  for  certain  of  them,  I  esteemed 
myself  fortunate.  A  young  musician  just 
entering  upon  his  career  receives  but 
slight  remuneration  for  his  works. 


CHAPTER  Y, 

Eesidence  in  Berlin.  —  Echoes  of  revolution. — In  the 
streets  of  Berlin.  —  Dehn.  —  Fantastical  enter- 
prises. —  The  flutist  Heindl  and  Baron  Fuhl. 

1848. 

THE  year  1848  found  me  in  Berlin. 
T  had  removed  from  Vienna  to  pro- 
mote my  chief  desire  in  life,  —  to  mingle 
■with  the  musical  world,  to  give  lessons, 
to  play,  and  to  compose. 

In  Berlin  1  found  myself  hurried  along 
by  the  current  of  revolutionary  ideas. 
Every  one  was  agitated,  and  living  in  a 
state  of  nervous  excitement.  ...  I  had 
many  acquaintances  among  the  journal- 
ists and  artists,  in  fact  among  profes- 
sional men  in  general.  .  .  .  They  were 
all  restless  and  feverishly  excited.  .  .  . 
The  signal  was  given  in  Vienna  and  echoed 
back  from   Berlin.      The    revolution   had 


Autobiography  of  Rubinstein.        35 

burst  forth.  ...  I  was  eager  to  be  in  the 
streets,  and  what  wonder  ?  I  was  but 
nineteen.  ...  I  did  not  realize  the  folly 
of  meddling  with  matters  that  were  no 
concern  of  mine,  or  of  sympathizing 
with  aspirations  foreign  to  my  interests. 
My  kind  landlady  watched  over  me,  and 
would  not  permit  her  artist  lodger  to  go 
out  on  the  day  when  the  excitement  rose  to 
the  highest  pitch.  She  simply  shut  me  up. 
All  that  I  could  see  from  my  window  in 
the  Bernstrasze  was  the  building  of  the 
barricades.  But  on  the  following  day  I 
was  out  among  the  crowds  on  the  square, 
and  subsequently  witnessed  all  the  scenes 
of  this  popular  revolution.  ...  1  saw  my 
professor,  Dehn.  .  .  .  This  elderly  man, 
a  famous  teacher  in  counterpoint,  had 
shouldered  a  musket,  and  in  his  rdle  of 
soldier  of  the  National  Guard,  was  patrol- 
ling in  front  of  one  of  the  government 
buildings. 
I  little  realized  what  a  grand  epoch  was 


36        Autobiography  of  Rubinstein. 

ushered  in  by  the  revolutionary  movement 
of  1848,  —  not  in  politics  alone,  but  in  art 
as  well.  .  .  .  My  life  may  be  divided  into 
two  distinct  periods,  and  for  this  reason 
may  offer  hereafter  a  certain  interest.  .  .  . 

I  mentioned  Dehn,  who  at  'that  time  in 
Berlin  saved  me  from  carrying  out  a  fantas- 
tic intention  which  might  have  ended  sadly 
for  me.  While  I  was  living  in  Vienna,  in 
1847,  I  became  acquainted  with  Heindl, 
a  good  flutist,  with  whom  I  made  a  concert 
tour  through  Hungary.  Then  we  two,  both 
youths  at  that  time,  and  another  friend, 
Baron  Fuhl,  agreed  to  try  our  fortunes  in 
America.  Our  route  led  through  Berlin, 
and  from  thence  we  were  to  go  to  Bremen 
or  Hamburg,  and  set  sail  for  the  New 
World.  No  sooner  was  the  idea  con- 
ceived than  we  proceeded  to  carry  it  out. 
I  went  at  once  to  Dehn  and  told  him  of 
our  plans. 

"  See  here,"  I  said,  "  I  am  going  to  try 
my  luck  in  America."     "  Heavens,  are  you 


Autobiography  of  Rubinstein.        37 

mad !  "  he  exclaimed.  "  Is  it  possible  that 
you  can  find  nothing  to  do  in  Europe  ? 
You  are  still  but  a  lad,  you  have  seen 
nothing  of  your  own  country,  and  yet  you 
would  recklessly  rush  off  to  America,  where 
you  are  likely  to  meet  with  any  kind  of 
misfortune." 

In  short,  Dehn  so  energetically  and 
warmly  protested  against  my  plan  that  I 
at  last  recognized  my  folly,  and  parted 
company  with  my  travelling  companions, 
who  were  naturally  quite  indignant  with 
me.  Soon  after  this  the  flutist  Heindl 
became  engaged,  and  one  day  when  he 
had  started  to  pay  a  visit  to  his  fiancee, 
while  attempting  to  cross  a  drill-ground, 
he  was  accidently  shot  and  killed  by  the 
bullet  of  a  sharpshooter.  As  to  the  baron, 
he  went  to  America,  where  he  won  for 
himself  both  social  position  and  fortune ; 
but,  as  he  afterward  told  me,  he  began 
as  a  common  laborer  by  breaking  stones 
on  the  road.     I  saw  him  in  1872  durino* 


38        Autobiography  of  Rubinstein. 

my  concert  tour  in  America  ;  he  was  mar- 
ried, had  a  family  of  daughters,  and  seemed 
happy  and  contented. 

Yielding  to  Dehn's  advice  I  remained  in 
Berlin,  and  continued  to  give  lessons  and 
to  visit  Mendelssohn  and  Meyerbeer.  .  .  . 
Some  of  the  lessons  were  well  paid,  but 
as  in  Berlin,  and  afterward  in  St.  Peters- 
burg, I  led  the  bohemian  life  of  an  artist, 
—  feasting  when  money  was  plenty,  and 
going  hungry  when  it  was  gone.  I  was 
reduced  to  such  straits  at  times  that  I 
used  to  return  the  receipted  tickets  for 
lessons,  accompanied  by  a  note  to  the  ef- 
fect that  my  pressing  engagements  obliged 
me  to  discontinue  my  instructions  for  the 
present,  and  requesting  to  be  paid  befoi*e 
the  end  of  the  term.  The  money  was 
always  sent,  but  my  patrons  were  often 
too  much  annoyed  to  employ  me  again. 

It  is  hardly  necessary  to  say  that  when 
the  revolution  broke  out,  music,  as  a  mat- 
ter of  course,  was  wholly  neglected.     No 


Autobiography  of  Rubinstein,        39 

lessons  were  sought  and  no  concerts  given ; 
a  dreary  time  for  musicians  set  in.  My 
last  resource  was  to  lose  no  time  in  re- 
turning to  St.  Petersburg,  which  I  pro- 
ceeded to  do. 


CHAPTER  VI. 

On  the  frontier  of   the  fatherland.  —  Arrival  in  St 
Petersburg.  —  Three  incidents. 

1849. 

THESE  events  happened  in  1849  or  in 
the  latter  part  of  1848,  I  am  not 
quite  sure  which.  I  packed  my  scanty 
effects,  crowded  my  notes,  my  unpublished 
works,  —  the  fruits  of  the  toil  of  a  young 
composer,  —  into  a  box,  and  with  all  the 
artless  trust  of  innocence  set  out  for 
Russia. 

I  was  stopped  at  the  frontier. 

"  Your  passport,  please,"  demanded  a 
fellow  countryman. 

"What  passport?" 

"  What  passport  ?  You  know  perfectly 
well.  Are  you  not  aware  that  every 
person  who  enters  Russia  must  have  a 
passport  ? " 


Autobiography  of  Rubinstein,        41 

I  had  actually  forgotten  it ;  or,  to  speak 
more  accurately,  had  never  known  it. 
When  I  came  to  Berlin  with  my  mother, 
in  1844,  I  was  a  mere  child.  My  brother, 
my  sister,  and  myself  were  all  included 
in  the  same  passport  with  my  mother. 
Afterward,  when  I  went  to  Vienna  the 
rest  of  the  family  returned  to  Moscow,  and 
I  was  left  without  papers  to  prove  my 
identity.  During  the  three  years  that  fol- 
lowed, I  had  had  no  occasion  to  use  them 
in  any  of  the  cities  of  Germany  where  I 
had  lived.  But  no  sooner  did  I  set  my  foot 
on  native  soil  (I  think  it  was  in  Maslo- 
vitzi)  than  I  was  confronted  with  the 
demand  for  a  passport. 

When  I  strove  to  explain,  they  seemed 
rather  inclined  to  suspect  my  apparent 
simplicity. 

"  Your  luggage,  sir  !  What  have  you  in 
your  box  ?  Music  ?  It  looks  more  like 
manuscripts.  We  will  put  the  seals  on, 
and  it  will  be  attended  to  yonder.     Here 


42        Autobiography  of  Rubinstein. 

is  your  receipt.  Where  are  you  going  ? 
St.  Petersburg,  by  way  of  Warsaw  ?  You 
will  show  them  your  receipt,  and  the  lug- 
gage will  be  delivered  to  you." 

I  have  forgotten  the  reason  why  they 
allowed  me  to  pass,  but  I  did  not  receive 
my  box.  I  was  directed  to  go  to  one 
Fr^ville  in  St.  Petersburg,  who  would 
hand  over  my  traps  to  me. 

At  last,  after  an  absence  of  six  years,  I 
lound  myself  once  more  in  St.  Petersburg. 
In  1843  I  had  been  a  petted  child  ;  I  re- 
turned an  unsophisticated  youth,  quite  igno- 
rant of  the  customs  of  my  native  land.  And 
I  was  not  long  in  draining  the  cup  of  ex- 
perience to  its  bitter  dregs. 

I  went  to  a  hotel.  I  could  not  at  first 
remember  the  name  of  my  acquaintances. 
Here  was  I,  a  youth  of  twenty,  as  much 
alone  as  if  I  had  been  in  the  depths  of  a 
forest.  Early  in  the  morning  there  came 
a  rap  at  the  door. 

*'  Your  passport,  please." 


Autobiography  of  Rtcbinstein.        43 

"  I  have  none." 

"What!  In  that  case  we  cannot  keep 
you  any  longer." 

Here  was  a  fine  dilemma.  I  bethought 
myself  of  an  acquaintance,  a  playmate  of 
my  childhood,  Charles  L^vi,  an  amateur 
musician,  a  little  man,  who  died  about  five 
years  ago.  I  started  out,  and  found  him 
somewhere  in  the  Grafski  Lane. 

"  See  here,"  said  I  to  him,  "  they  refuse 
to  keep  me  at  the  hotel  because  I  have  no 
passport." 

"  Spend  the  night  with  me,"  he  said, 
"  and  we  will  think  the  matter  over." 

In  the  morning  came  the  dvornik} 

"  Your  passport." 

The  deuce  take  their  passport ! 

"  I  will  go  to  the  chief  of  police ! "  I 
exclaimed. 

General  Galahov  was  the  chief  of  police 
at  that  time.  I  went  to  the  bureau  and 
informed  the  clerk  in  the  reception  room 
^  Janitor. 


44        Autobiography  of  Rubinstein. 

that  I  had  recently  come  from  abroad,  and 
knew  nothing  whatever  about  passports  or 
that  one  would  be  required  of  me.  .  .  .  He 
looked  at  me  in  utter  astonishment. 

"  Wait  here,"  he  said. 

"When  Galahov  appeared,  the  clerk  re- 
ported to  him  :  "  A  certain  Rubinstein  has 
arrived  from  abroad  without  any  passport, 
and  there  he  is. " 

"  What !  How  is  that !  "  roared  Galahov, 
"  Where  does  he  live  ?  Where  has  he  been  ? 
Where  does  he  come  from  ?  Send  some 
one  to  find  out  without  delay  !  Inquire 
in  whose  house  he  has  been  staying ! 
Who  are  they  ?  And  see  that  they  are 
fined!"  .  .  . 

"What  can  all  this  mean,"  I  thought; 
"why  do  they  make  such  an  ado  over  a 
passport  ?  I  am  known  to  a  number  of 
men,  —  to  Prince  Lvov,  Count  Stroganov, 
Count  Vielgdrski ;  .  .  .  I  will  call  upon 
them.    What  is  it  they  require  me  to  do  ? "' 

1  never  understood  why  Galahov  allowed 


Autobiography  of  Rubinstein.        45 

me  to  go.  I  hastened  to  Count  Matthew 
Vielgorski,  and  laid  the  matter  before 
him.  His  face  grew  long.  One  must  re- 
member in  what  times  we  were  living,  — 
1849! 

"  This  is  a  serious  matter,"  said  the 
count,  "  I  will  write  to  Galahov  and  tell 
him  that  I  know  you,  and  meanwhile  you 
must  write  to  your  mother  about  your 
passport." 

I  wrote  to  my  mother,  and  she  wrote  to 
Berdichev  asking  to  have  individual  papers 
sent  to  me.  Meanwhile  I  returned  to  Gal^ 
hov,  and  tendered  him  Count  Yielgdrski's 
letter,  which  he  read. 

"  That  is  of  no  value,"  he  said  ;  "  a 
letter  like  that  is  worth  nothing  whatever  ! 
How  dare  you  show  yourself  here  with- 
out a  passport !  "  All  this  he  shouted  in 
stentorian  tones.  "  Mind  that  you  have  a 
passport  in  two  weeks  from  this  time  !  Do 
you  understand  ? " 

I   had    no   difficulty   in    understanding, 


46        A  iitohiography  of  Rubinstein. 

but  I  thought  within  myself,  "  Why  do  you 
get  so  excited  ?  There  are  officials  above 
you."  I  went  to  Shulgin,  the  governor- 
general.  As  soon  as  I  opened  my  mouth 
he  screamed, — 

"  I  will  have  thee  put  in  chains !  In 
chains,  I  tell  thee !  I  will  send  thee  to 
Siberia  by  Ha'pe  !  "  ^ 

At  that  time  Russian  generals  always 
used  "  thee  "  to  persons  of  my  rank  in  life. 

I  was  dumfounded.  A  youth  of  twenty, 
straight  from  the  centre  of  civilization,  from 
the  world  of  arts  and  sciences,  returning 
to  his  native  land  to  find  such  a  welcome 
as  this ! 

I  cannot  remember  how  I  left  Shulgin,  or 
why  he  did  not  execute  his  threat.  .  .  . 
That  he  could  have  done  so  is  beyond  a 
doubt.  ...  I  only  remember  that  all  this 
weighed  on  my  mind.     Days  passed,  and 

^  The  Russian  system  of  conveying  prisoners 
to  Siberia,  ittape  means  a  halt,  a  resting-place,  a 
station. — Tb. 


Autobiography  of  Rubinstein.        47 

still  no  passport.  Meanwhile  I  staved  with 
my  friends,  visiting  from  house  to  house. 
About  this  time  a  Court  ball  or  concert,  I 
do  not  remember  which,  took  place  ;  and  all 
my  influential  friends,  to  whom  I  had  given 
an  account  of  my  treatment  by  Shulgln 
and  Galahov,  were  highly  indignant. 

"  What  are  you  doing  with  Rubinstein  ? 
He  is  a  friend  of  ours ;  he  was  received 
at  Court  and  played  before  the  Imperial 
family.  Why  do  you  treat  him  in  this 
way  ? "  they  asked. 

The  following  day  I  went  to  Galahov. 
Here  I  had  to  wait  in  the  reception  room 
for  three  hours,  standing  all  the  time,  since 
etiquette  forbade  me  to  sit.  In  those  days 
all  who  waited  for  his  Excellency  usually 
did  so  standing.  Those  were  dreary  times. 
At  last  I  was  called  into  his  study. 

"  Well,  my  good  fellow,"  he  said,  "  I 
have  been  told  that  you  are  quite  a  musi- 
cian ;  but  I  have  little  faith  in  all  this  talk. 
What  I  want  you  to  do  is  to  go  to  my 


48        Autobiography  of  Rubinstein. 

secretary  Chesnakov  and  play  something 
to  him,  so  that  we  may  know  if  you  are  a 
real  musician ;  and  bear  in  mind  that  he 
understands  music."  All  this  was  uttered 
in  the  most  scornful  tones. 

I  was  conducted  to  the  secretary,  who  had 
some  kind  of  miserable  piano.  I  seated  my- 
self, and  all  tlie  bitterness,  the  wrath,  the 
indignation  I  felt  at  the  treatment  that  I 
had  received  I  poured  forth  upon  the  keys 
of  that  instrument.  I  thundered  so  that 
the  piano  fairly  shook  under  my  touch,  and 
seemed  on  the  point  of  falling  to  pieces. 
It  was  really  the  most  wretched  piano, 
and  my  wrath  knew  no  bounds.  The  sec- 
retary, however,  listened  patiently  to  the 
end,  and  then  we  returned  to  the  chief  of 
police. 

"  Your  Excellency's  information  was  cor- 
rect," he  reported.  "  Rubinstein  is  a  musi- 
cian indeed ;  he  can  play  —  " 

"  Then  let  him  have  three  weeks'  grace !" 
thundered  Gal^hov. 


Autobiography  of  Rubinstei?i.        49 

And  thus  I  won  my  reprieve.  .  .  . 

Ah,  those  were  hard  times,  particularly 
in  the  year  1849 !  Meanwhile  my  pass- 
port arrived  from  Berdichev,  and  so  the 
demands   of  the   law   were   satisfied. 

This  was  my  first  adventure  in  my  native 
land.     The  second  was  no  less  curious. 

Soon  after  my  arrival  I  went  in  quest  of 
my  treasure,  the  box  that  contained  my 
music.  As  I  have  said  before,  it  was  in 
manuscript,  —  my  work  during  the  three 
years*  residence  in  Berlin  and  Vienna.  I 
do  not  remember  who  this  Fr^ville  was  to 
whom  I  was  sent,  whether  he  was  in  the 
Custom  House  or  in  the  Censure  Depart- 
ment, or  the  secret  or  ordinary  police. 
Only  he  did  not  give  me  my  box. 

"  It  is  true  my  dear  sir,"  he  said,  "  that 
your  manuscripts  all  appear  to  be  sheet 
music,  but  it  is  well  known  to  the  govern- 
ment that  the  anarchists  and  the  revolu- 
tionists   write    their    proclamations    and 

other    papers  in   conventional   signs  that 
4 


^ 


50        Autobiography  of  Rubinstein. 

look  somewhat  like  notes.  .  .  .  This  may 
be  some  political  cipher.  .  .  .  Wait  pa- 
tiently for  five  or  six  months,  and  perhaps 
your  notes  may  be  restored  to  you." 

There  was  nothing  for  it  but  to  submit. 
I  afterward  reproduced  from  memory  such 
parts  of  my  compositions  as  I  wished  to 
preserve,  and  put  the  ill-fated  box  out  of 
my  mind. 

Several  years  later  I  happened  one  day 
to  drop  in  to  Bernard's  music  store,  and 
there  I  was  told  that  they  had  just  bought 
some  of  my  autograph  compositions. 

"  Where  did  you  buy  them  ?  "  I  asked. 

"  We  bought  them  at  auction,  where 
they  were  sold  for  waste  paper." 

"  I  wish  you  would  send  and  buy  some 
for  me,"  I  said. 

"  I  fear  it  is  too  late  ;  it  was  all  sold  for 
waste  paper.  The  paper  was  of  a  good 
quality." 

And  how  did  this  happen  ?  Either  the 
Custom  House  or  the  censor,  I  really  do 


Autobiography  of  Rubinstein.        51 

not  know  which  of  the  two,  advertised  for 
the  owner  in  the  "  Police  News ; "  but  the 
owner  not  having  the  habit  of  reading  the 
"  Police  News,"  the  box  with  its  contents  was 
sold  by  weight  at  public  auction.  Several 
years  later  when  I  went  to  the  office  of  the 
chief  of  police  to  obtain  a  travelling  pass- 
port, one  of  the  clerks  boasted  that  he  too 
had  bought  several  of  my  manuscripts 
from  a  dealer  in  old  paper.  And  all  these 
came  from  the  same  ill-fated  box. 

Another  adventure  of  that  same  unlucky 
year  of  1849  chanced  as  follows. 

The  famous  pianist  Sophie  Bohrer,  who 
had  given  concerts  in  her  childhood, 
arrived  in  St.  Petersburg.  As  an  old 
friend  I  was  in  the  habit  of  calling  upon 
her,  and  on  the  occasion  of  my  first  visit  I 
met  a  young  man  there  dressed  in  stu- 
dent's uniform.  I  will  mention  no  name; 
for  if  he  be  still  alive  he  must  long  since 
have  reached  the  dignity  of  general,^  and 

^  A  remark  meant  to  be  satirical,  for  generals  both 


52        Autobiography  of  Rubinstein. 

possibly  he  may  be  dead.  He  seemed 
anxious  to  make  my  acquaintance,  and  was 
quite  attentive.  He  took  the  trouble  to 
hunt  up  my  quarters  and  showed  himself 
very  friendly.  Here  is  a  sample  of  his 
conversation  :  — 

"  You  come  to  us  here  in  Russia  from 
intellectual  centres,  and  even  in  our  culti- 
vated circles  you  will  find  nothing  en- 
couraging. You  must  feel  the  sudden 
transition  from  civilization  and  progress 
into  a  wilderness ;  and  yet  if  you  are  so 
inclined,  I  can,  even  here,  introduce  you 
into  society  which  you  will  find  congenial 
and  sympathetic."  .  .  . 

Suspecting  no  harm,  I  replied  that  I 
should  be  very  glad  to  become  acquainted 
with  cultivated  people. 

"  Agreed,  then ;  on  Saturday  I  will  call 
and  take  you  to  my  friends." 

civil  and  military  abound  in  Russia.  It  is  in  fact 
the  polite  mode  of  retiring  an  old  and  useless 
man.  —  Tr. 


Autobiography  of  Rubinstein.         53 

At  the  appointed  hour  he  made  his 
appearance.  I  accompanied  him  to  the 
end  of  Great  Saddvoya  Street,  beyond  the 
Church  of  the  Pokrov.  We  entered  an 
apartment  in  which  a  large  number  of  men 
of  all  ages,  both  military  and  civilians, 
were  assembled;  I  remember  only  one  of 
them,  a  man  named  Palm.  When  I  in- 
quired for  the  host,  who  was  not  visible, 
the  reply  was  given,  "  Wait  awhile,  and 
we  shall  all  be  called." 

At  last  a  bell  rang,  the  door  was  flung 
open,  and  we  entered  a  large  room  where 
a  row  of  chairs  was  arranged  in  front  of 
a  platform,  as  in  a  concert  hall.  A  tall, 
handsome  man  with  a  beard  mounted  the 
platform  and  read  a  sort  of  treatise  advo- 
cating communistic  or  socialistic  theories. 
All  this  surprised  me  greatly,  and  I  made 
no  attempt  to  conceal  my  feelings  from 
my  neighbors. 

"  I  confess  I  never  expected  to  find  such 
a  state  of  things  as  this  in  Russia,"  I  said. 


54        Autobiography  of  Rubinstein. 

"  I  can  understand  that  ideas  and  publica- 
tions of  this  kind  might  have  a  raison 
d'etre  abroad,  but  surely  we  have  no  occa- 
sion for  them  here  in  Russia.  They  are 
quite  impracticable  and  out  of  place  in  our 
fatherland." 

I  spoke  thus  to  all  who  would  listen  to 
me  on  this  evening  at  the  house  of  the 
famous  conspirator  Michael  Yassilievich 
Butashevich-Petrashevski,  —  for  the  tall, 
handsome  man  was  no  less  a  personage 
than  he ;  and  it  was  to  these  remarks  of 
mine  that  I  eventually  owed  my  escape. 
Petrashdvski  and  I  met,  however,  several 
times  after  that  evening ;  he  visited  me  in 
my  apartments  on  the  Morskaya,  where  he 
used  to  bring  me  radical  books  written  in 
foreign  languages,  and  we  had  many  a  chat 
and  discussion  on  parliaments,  constitu- 
tions, and  kindred  subjects. 

Soon  afterward  I  went  to  Moscow ;  and 
one  day  my  mother  said  to  me  :  "  Have  you 
heard  what  is  going  on  in  St.  Petersburg  ? 


'Autobiography  of  Rubinstein.        55 

A  man  nained  Petrashevski  has  been  ar- 
rested, and  likewise  many  others  who  fre- 
quented his  house.  These  gentlemen  were 
members  of  some  secret  society,  and  are 
all  imprisoned  in  the  fortress." 

You  may  imagine  my  feelings.  I  re- 
turned with  fear  and  trembling  to  St. 
Petersburg,  expecting  at  any  moment  to 
be  arrested.  On  the  Nevski  I  met  my 
friend  the  student,  who  had  introduced 
me  to  Petrashevski ;  he  was  as  cordial  to 
me  as  ever,  but  I  was  now  on  guard.  .  .  . 
Evidently  my  remarks  had  saved  me,  and 
the  "  Third  Division,"  whose  dreaded  name 
carried  terror  to  all  who  heard  it,  had 
spared  me. 


CHAPTER  VII. 

In  St.  Petersburg.  —  Symphony  concerts  in  the  Univer- 
sity. —  A.  I.  Fitztum.  —  K.  B.  Schuberth.  —  The  Rus- 
sian opera.  —  The  Grand  Duchess  Helen  Pavlovna. 
—  Emperor  Nicholas  and  his  relations  to  musicians 
and  artists.  — Lablache.  —  Operas  of"  Dmitri  Don- 
skoi"  and  "Thomas  the  Fool."  —  A.  M.  Ge'deonov 
and  the  singer  Biilachov. 

1849-1854. 

I  SUPPORTED  myself  in  St.  Petersburg, 
as  I  had  done  in  Berlin,  by  giving 
lessons.  .  -  .  Some  of  my  pupils  paid  me 
one  rouble  and.  others  twenty-five.  ...  I 
wrote  operas  in  German  and  in  Italian  ;  for 
at  that  time,  with  the  exception  of  Glinka, 
there  were  no  Russian  composers,  —  noth- 
ing but  amateurs,  dilettanti  landlords, 
dilettanti  clerks :  musicians,  real  artists, 
who  looked  upon  their  art  as  the  very  es- 
sence of  their  lives,  were  nowhere  to  be 
found.  .  .  .  The  more  ardent  lovers  of 
music  used  to  congregate  at  the  Symphony 


Autobiography  of  Rubinstein.        57 

Concerts,  which  were  held  iu  the  Univer- 
sity under  the  patronage  of  its  famous 
inspector,  Alexander  Ivanovich  Fitztum. 
The  students  formed  an  orchestra,  and 
were  joined  by  many  amateurs  like  Doctor 
Behrs  and  myself ;  and  so,  without  any  re- 
hearsals, we  played  on  Sundays,  charging 
a  rouble  for  admission,  and  the  public 
came  flocking  into  the  Graduation  Hall 
of  the  University. 

When  I  recall  those  times,  I  often  won- 
der that  the  people  should  have  come  in 
such  crowds  to  these  concerts,  when  many 
of  them  had  to  cross  the  frozen  Neva  on 
the  plank-walk.  The  seats  were  taken  at 
once.  Karl  Bogd^novich  Schuberth  was 
the  conductor,  and  when  he  was  absent  I 
sometimes  took  his  place  myself.  And  — 
would  you  believe  it  ?  —  even  without  re- 
hearsals, such  was  the  love  and  enthu- 
siasm that  animated  the  performers,  the 
orchestra  really  played  very  well.  It  must 
be  remembered  that  previous  to  these  Uni- 


58        Autobiography  of  Rubinstein. 

versity  Concerts  the  Symphonic  Assemblies 
had  taken  place  but  infrequently,  possibly 
three  or  four  times  a  year  in  the  Court 
chapel,  no  oftener  than  that. 

A  very  small  band  of  amateurs,  includ- 
ing both  military  and  civilians,  not  to 
mention  grand  dukes,  clustered  around 
the  Court  chapel.  (Grand  Duke  Constan- 
tin,  the  Emperor's  son,  was  a  very  good 
'cello  player.)  The  Russian  opera  was 
as  yet  in  embryo,  as  far  as  regards  the 
singers,  who,  with  the  exception  of  Petrov, 
a  basso  of  note,  were  beneath  criticism. 
The  famous  writer.  Count  Sallogub,  once 
said  of  the  prima  donna  that  her  voice 
was  a  draft  of  air,  not  a  voice.  And 
at  this  very  time,  when  music  was  at 
so  low  an  ebb,  a  new  era  for  art  was 
dawning  within  the  palace  of  the  Grand 
Duchess  Helen,  the  sister  of  Emperor 
Nicholas. 

A  truly  remarkable  woman !  I  never 
in   my   life   met   her  equal.     To  a  royal 


Autobiography  of  Rubinstein.        59 

dignity  of  manner  she  united  the  perfection 
of  tact.  She  knew  how  to  put  herself  in 
sympathy  with  every  one  who  entered  her 
presence;  were  he  a  savanty  a  soldier,  an 
artist,  a  writer,  a  statesman,  a  poet,  —  she 
could  converse  with  all,  and  leave  a  pleas- 
ing impression  on  every  listener.  Emperor 
Nicholas  was  deeply  attached  to  her,  and 
set  a  high  value  on  her  opinions.  It  was 
in  her  salon  that  the  famous  conversation 
took  place  between  Emperor  Nicholas  and 
the  English  embassador  Hamilton,  con- 
cerning "  the  sick  man,"  Turkey,  which 
precipitated  the  Crimean  war  in  1853. 
There  too  the  period  of  reform  under 
Emperor  Alexander  II.  was  ushered  in, 
and  projects  for  the  liberation  of  the  serfs 
were  discussed  between  the  statesmen  of 
the  new  reign  and  the  cultured  mistress  of 
the  salon.  She  was  indeed  an  extraordi- 
nary woman,  and  exercised  a  great  influence 
over  the  political  affairs  of  Russia. 

It  must  also  be  remarked  that  her  en- 


6o        Autobiography  of  Rubinstein. 

tourage  was  remarkable ;  the  Baroness 
Raden,  one  of  the  ladies  of  her  court,  was 
accounted  among  the  cleverest  women  of 
the  times,  and  the  Grand  Duchess  owed 
much  to  her. 

I  was  often  invited  to  her  soirees 
while  the  Grand  Duke  Michael  was  still 
alive.  One  evening  he  came  into  the 
salon  with  a  cigar  between  his  lips,  and 
a  big  dog  at  his  heels;  he  laughed  and 
jested  with  the  guests  after  his  usual 
fashion,  but  soon  he  bade  farewell  to  his 
wife  and  her  friends,  and  departed  for 
Warsaw.  The  next  time  he  was  seen  in 
St.  Petersburg  he  lay  in  his  coffin.  After 
his  death  the  palace  of  the  Grand  Duchess 
became  the  centre  toward  which  flowed 
the  current  of  all  the  intellectual  life  of 
the  capital,  as  at  this  time  the  Empress 
Alexandra  was  ill. 

In  1852  I  was  engaged  by  the  Grand 
Duchess  as  accompanist  in  general  to  the 
palace  singers.     I  jestingly  took  upon  my- 


Autobiography  of  Rubijistein.        6i 

self  the  title  of  "  Janitor  of  Music."  Yes, 
I  repeat,  she  was  an  extraordinarily  intel- 
lectual woman ;  I  never  knew  her  equal. 
Some  rank  with  her  the  Empress  Augusta, 
an  extremely  intelligent  lady  beyond  doubt, 
but  our  Grand  Duchess  Helen  far  sur- 
passed her  in  intellect  as  well  as  in  educa- 
tion. One  had  only  to  mention  her  name 
to  Auerbach,  or  to  any  other  European 
celebrity,  to  hear  the  most  enthusiastic 
eulogies.  When  she  lived  abroad,  she 
often  invited  this  or  that  celebrity  to  spend 
a  week  or  a  month  with  her;  writers  and 
artists  lived  at  her  court,  met  and  con- 
versed with  her  day  after  day  and  were 
thoroughly  charmed  by  her  marvellous  in- 
telligence, her  varied  attainments,  her  tact 
and  her  amiability. 

The  musical  soirSes  of  the  Grand  Duch- 
ess were  extremely  interesting,  for  the  best 
artists  in  St.  Petersburg  were  invited  to 
them.  The  majestic  form  of  Emperor 
Nicholas  was  often  seen  among  the  guests. 


62        Autobiography  of  Rubinstein. 

He  always  treated  me  with  gracious  con- 
sideration, and  on  one  occasion  remained 
by  my  side  at  the  piano  for  more  than  an 
hour  talking,  and  whistling  very  correctly 
an  entire  opera.  While  his  sons  and  daugh- 
ters literally  worshipped  the  Emperor,  at 
the  same  time  they  stood  greatly  in  awe 
of  him,  especially  when  he  was  out  of 
humor. 

I  have  a  vivid  recollection  of  two  even- 
ings in  particular,  when  they  were  rehears- 
ing tableaux  at  the  palace  of  the  Grand 
Duchess  Maria  Nicolaevna.^  The  Empress 
Alexandra,  far  from  well,  was  reclining  on 
a  lounge,  the  young  people,  dukes  and 
maids-of-honor,  were  laughing  and  rol- 
licking in  the  room ;  it  was  a  scene  of  gay 
merriment  and  confusion.  I  was  seated  at 
the  piano  playing  the  music  set  to  the 
tableaux,  then  being  rehearsed,  when  sud- 
denly in  the  door-way  appeared  the  majes- 
tic figure  of  the  Emperor.  Everything 
^  The  Emperor's  daughter. 


Autobiography  of  Rubinstein.        63 

came  to  a  standstill,  and  a  death-like 
silence  took  the  place  of  gay  confusion. 
The  Emperor  seemed  care-worn  and  gloomy 
—  it  was  the  year  of  the  Crimean  war. 
Suddenly  he  turned  to  Roller,  the  decora- 
tor, and  rented  his  wrath  on  him  for 
some  awkwardly  arranged  decoration.  His 
mood,  as  may  be  supposed,  was  reflected 
on  all  present.  Imagine  the  position  of 
the  young  pianist! 

As  a  matter  of  course  the  irate  monarch 
paid  no  attention  whatever  to  me.  But 
when  those  who  were  to  take  part  in  the 
tableaux  and  theatricals  assembled  on  the 
following  day,  they  were  nervous  and  ill  at 
ease.  I,  dreading  what  might  befall  them, 
took  my  seat  at  the  piano ;  and  remember- 
ing the  outbreak  of  displeasure  on  the 
previous  evening,  we  awaited  with  trepi- 
dation the  arrival  of  His  Majesty,  who, 
when  he  appeared,  disappointed  all  expec- 
tations by  his  kindness  and  amiability. 
So  charming  was  his  manner  to  each  one 


64        Autobiography  of  Rubinstein. 

of  us,  not  even  excepting  Roller,  that  lie 
inspired  us  with  fresh  enthusiasm,  and  ex- 
cited such  genuine  merriment  that  for 
many  months  after,  this  evening  was  re- 
membered by  many  as  the  merriest  and 
most  animated  they  had  known.  Mean- 
while, the  Emperor  seated  himself  behind 
me  near  the  piano,  and  jested  and  laughed 
a  good  deal  between  the  acts,  asking  me 
whether  I  remembered  this  or  that  air,  and 
then  cleverly  whistling  it  for  me. 

During  the  winters  of  1853  and  1854 
these  soirees  were  given  alternately  in  the 
salons  of  the  Grand  Duchess  Helen  and 
the  Grand  Duchess  Maria. 

I  remember  one  more  episode  of  this 
same  winter  that  serves  to  show  what  an 
ineffaceable  impression  the  voice,  the  fig- 
ure, the  whole  bearing  of  Emperor  Nicho- 
las produced  on  all  who  came  into  his 
presence. 

The  occasion  was  a  musicale  in  the  salon 
of  the  Grand  Duchess  Helen.     The  famous 


Autobiography  of  Riibhistehi.        65 

singer  Lablache,  who  had  been  expected  in 
St.  Petersburg,  had  just  arrived.  This 
good-natured  and  finished  artist  was  a 
somewhat  corpulent  person.  Animated  and 
quick-witted,  he  was  a  general  favorite, 
and  very  much  at  his  ease  in  the  courts  of 
royal  personages,  whether  princesses,  grand 
duchesses,  or  queens.  The  Empress  Alex- 
andra never  allowed  Lablache  to  stand  in 
her  presence ;  she  would  often  place  both 
hands  on  his  shoulders  and  compel  him 
to  be  seated.  That  evening  the  Emperor 
chanced  to  drop  in.  As  he  entered,  Lablache 
rose  with  the  rest,  as  a  matter  of  course, 
and  when  the  Emperor  approached,  and 
taking  his  hand  said  a  few  pleasant  words, 
this  clever,  brilliant  man,  who  had  felt 
absolutely  at  ease  with  Queen  Victoria, 
in  the  presence  of  the  Emperor,  lost  his 
self-possession  entirely ;  his  lips  quivered, 
his  voice  trembled,  and  he  could  scarcely 
utter  a  word,  —  and   this   with   Lablache, 

himself  a  king  among  men,  a  thoroughly 
6 


66        Autobiography  of  Rubinstein. 

independent  and  fearless  character !  But 
the  Emperor  with  a  courteous  affability  all 
his  own,  —  an  affability  which  he  never 
failed  to  show  to  all  artists  and  musi- 
cians, —  soon  restored  his  equanimity. 

I  remember  an  incident  related  to  me  by 
the  architect  Kusmm,  who  had  the  habit 
of  interlarding  all  his  remarks  with  the 
phrase,  "  you  understand."  On  one  occa- 
sion when  he  was  explaining  certain  archi- 
tectural matters  to  the  Emperor,  he,  ac- 
cording to  custom,  made  free  use  of  his 
favorite  phrase. 

"  Good  heavens  1 "  exclaimed  the  Em- 
peror, "  of  course  I  understand  !  My  dear 
fellow,  how  could  I  help  it  ?  " 

You  may  picture  the  architect's  astonish- 
ment. 

Another  rather  curious  affair  took  place 
at  the  Grand  Italian  Opera  House.  It  was 
the  first  night  of  Meyerbeer's  "  Prophet." 
After  the  fourth  act  the  Emperor  went 
behind  the  scenes,  and  while  talking  with 


Aictobiography  of  Ricbinstehi.        67 

Mario,  he  asked  the  latter  to  take  off  his 
crown,  which  he  did,  and  handed  it  to 
His  Majesty,  who,  without  interrupting  the 
conversation,  quietly  hroke  off  the  cross, 
and  returned  the  crown  to  the  artist. 

From  1852  to  185-1  in  St.  Petersburg, 
I  continued  to  lead  the  same  old  life  of 
teaching.  In  spite  of  the  fact  that  my 
pupils  paid  me  well,  I  was  often  so  much 
pressed  for  money  that  in  the  summer- 
time I  have  been  forced  to  walk  from  Ka- 
meunoi-Ostrov  Palace,  where  I  lived,  as 
the  guest  of  the  Grand  Duchess  Helen, 
into  town,  because  I  had  no  money  to  pay 
an  izvbschik}  .  .  .  About  this  time  it  was 
that  one  of  the  chief  events  of  my  life  took 
place,  —  I  appeared  before  the  public  as  a 
composer.  I  chose  for  the  subject  of  my 
first  opera,  "  Dmitri  Donskoi."  Count 
Sallogub  wrote  the  first  and  third  acts 
of  the  libretto ;  the  "  Tartar  scenes  "  in 
the  second  act  were  the  work  of  Zotov. 
1  An  open  hired  carriage  and  driver.  —  Tr. 


68        Autobiography  of  Rubinstein. 

Gdd^ouov  was  then  the  director  of  the 
theatre.  He  accepted  the  opera  and  put 
it  on  the  stage. 

At  this  time,  and  indeed  for  many  years 
later,  Russian  opera  was  not  popular  ;  for 
which  reason  I  afterward  wrote  my  operas 
in  Italian  and  in  German.  .  .  .  Fiodorov, 
and  after  him  Lukashevich,  were  the  sole 
defenders  of  Russian  opera.  Indeed,  one 
of  Ged(i6nov's  successors,  Stephen  Ged^5- 
uov  frankly  declared  that  it  was  a  mystery 
to  him  that  any  composer  should  find  cour- 
age to  write  Russian  operas,  since  there 
was  no  possible  hope  of  success.  .  .  .  How- 
ever, "  Dmitri  Donskoi,  or  the  Battle  of 
Kulikdvo,"  was  written  and  accepted ;  new 
costumes  were  provided,  and  on  April  18, 
1882,  the  first  public  representation  was 
given. 

I  well  remember  the  rehearsal.  I  led 
the  orchestra,  and  the  rudeness  of  Gdddo- 
nov  to  all  the  artists  engaged,  can  never  be 
forgotten.     A  distinguished  audience   had 


Autobiography  of  Rubinstein.        69 

assembled  to  hear  it ;  I  was  already  known, 
and  my  numerous  friends  were  all  pre- 
sent. .  .  .  The  music  did  not  please  the 
audience,  and  the  singing  was  certainly 
outrageous ;  the  only  air  which  won  an  en- 
core was  that  of  the  dervish,  which  was  well 
sung  by  the  young  artist  Bulachov,  who 
made  his  debut  on  the  occasion.  .  .  .  He 
was  recalled,  applauded,  and  made  to  re- 
peat it.  .  .  .  After  the  curtain  had  fallen 
I  hurried  on  to  the  stage  to  look  for 
Bulachov,  that  I  might  thank  him.  I 
found  the  young  man  hidden  in  some 
corner  behind  the  scenery.  .  .  .  He  was 
agitated,  trembling,  and  in  tears.  .  .  . 

"  What  is  the  matter  ?  " 

"  Director  G^d^onov  has  just  been  abus- 
ing me  in  such  terms  as  no  izvoschih 
would  use ! " 

"  What  reason  did  he  give  ?  " 

"  It  was  because  I  took  my  hat  when  I 
bowed  to  the  audience.  '  A  dervish,'  he 
said,  '  should   never  bow ; '  and   I   might 


70        Autobiography  of  Riibinstein, 

have  ruined  that  new  hat ;  he  was  amazed 
at  my  holdness.  And  this  is  the  way 
things  go  on ;  how  can  any  one  be  ex- 
pected to  work  under  such  conditions  ? " 

But  the  saddest  part  of  all  was  the  re- 
sult of  these  reproaches  on  the  spirits  of 
this  young  artist,  whose  debut  had  given 
promise  of  a  successful  career.  The  abuse 
of  the  director  discouraged  him  to  such  a 
degree  that  he  took  to  drink,  and  has 
never  risen  above  the  rank  of  a  second-rate 
artist. 

Eventually,  however,  the  opera  of  "  Dmi- 
tri Donskoi "  proved  fairly  successful. 
Soon  after  this  the  Grand  Duchess  Helen 
invited  me  to  act  as  accompanist  to  the 
singers  at  her  musical  soirees,  and  also 
asked  me  to  write  a  series  of  short  operas 
to  illustrate  the  various  nationalities  of  our 
great  country.  I  wrote  three  one-act 
operas ;  the  first,  descriptive  of  Caucasia, 
"  Hadji  Abrek,"  in  which  I  used  LSrmon- 
tov's   poem   for    my  theme ;    the    second, 


Autobiography  of  Ruhinstcin.        yi 

of  Siberia,-  called  "  Siberian  Huntsmen," 
founded  on  a  libretto  of  Audr^  G^rdbz6v, 
and  the  third,  "  Thomas  the  Fool,"  the  lib- 
retto of  which  was  written  by  the  well- 
known  poet  Michailov,  who  was  banished 
in  1861  to  Siberia,  where  he  soon  after- 
ward died. 

The  motif  for  the  latter  opera  was  taken 
from  Little  Russian  life.  It  was  first  given 
in  1853,  but  the  singing  was  so  outrage- 
ously bad  that  I  actually  ran  away  from 
the  theatre,  and  appeared  the  following 
day  at  the  office  and  persistently  de- 
manded the  return  of  the  score.  ...  I  was 
afterward  informed  that  the  public  re- 
ceived the  opera  kindly.  Semionov,  who 
at  that  time  occupied  the  position  of  sub- 
ordinate clerk,  tried  in  vain  to  pacify  and 
reason  with  me.  ...  He  seemed  to  be 
the  only  man  in  the  office  at  that  time  who 
took  the  slightest  interest  in  Russian 
opera ;  but  I  was  not  to  be  appeased. 


CHAPTER  VIII. 

Life  abroad.  —  In  Moscow  at  the  time  of  the  corona- 
tion of  the  Emperor  Alexander  II.  —  At  Nice  in 
the  suite  of  the  Grand  Duchess  Helen  —  The  con- 
ception of  the  Russian  Musical  Society. 

1854-1858. 

THE  intervening  years,  from  1854  to 
1858, 1  spent  abroad,  making  a  musi- 
cal tour  through  Germany,  France,  and 
England,  visiting  all  the  principal  centres 
of  these  countries.  Directly  after  this  jour- 
ney I  was  summoned  to  Moscow  by  the 
Grand  Duchess  Helen,  to  be  present  at  the 
coronation  of  the  Emperor  Alexander  11. , 
but  arrived  only  in  time  for  the  festivities 
of  the  second  day. 

During  my  sojourn  abroad  in  1854,  I 
spent  five  or  six  months  in  Weimar.  Let 
me  here  remark,  that  at  the  time  of  the 
Crimean  war  all  Europe  was  hostile  to 
Russia,  or  rather  to  her  foreign  and  domes- 


Autobiography  of  Rubi?istein.        73 

tic  policy.  Everything  Russian  was  re- 
garded with  an  unfriendly  eye,  in  Prussia 
no  less  than  in  other  countries.  A  few  of 
the  officers  and  generals  decorated  with 
Russian  orders  were  the  only  persons  who 
showed  any  degree  of  sympathy  for  our 
fatherland ;  all  the  others  were  decidedly 
hostile.  However,  this  hostility  did  not 
extend  to  the  domain  of  music,  although, 
oddly  enough,  I  was  considered  a  Russian 
in  Germany  and  a  German  in  Russia. 

Weimar  was  the  paradise  of  art,  litera- 
ture, and  music.  Here  was  the  home  of 
Liszt,  wherein  he  reigned  supreme.  No 
shrine  was  ever  more  devoutly  visited ; 
authors,  painters,  musicians,  —  all  came 
hither  as  guests  of  the  Duke  of  Weimar.^ 
The  Duke  himself,  a  man  of  cold  and 
formal  bearing,  playing  as  he  did  the  part 
of  a  potentate  in  this  microscopic  king- 
'  dom,  could  not  fail  to  appear  rather  ridicu- 
lous, although  he  was  sincerely  fond  of  art 

1  Brother  of  the  late  Empress   Augusta  of  Ger- 
many. —  Te. 


74        Autobiography  of  Rubinsteiti. 

and  literature,  and  especially  devoted  to 
music.  During  the  residence  of  Goethe 
in  Weimar  it  was  facetiously  said  of  the 
reigning  duke,  "  "We,  by  the  grace  of 
Goethe,  Duke  So  and  So."  The  present 
duke  seemed  eager  to  formulate  something 
of  the  same  nature  in  regard  to  Liszt,  who 
was  worshipped  as  a  demi-god. 

The  Princess  "Witgenstein,  a  Polish  lady, 
whose  maiden  name  was  Ivanovska,  wife  of 
an  aide-de-camp  of  the  Russian  Emperor, 
and  mother  of  the  present  Princess  of 
Hohenloe,  lived  in  "Weimar  at  that  time. 
She  was  a  woman  of  such  ability  and 
education  that  to  venture  upon  a  conver- 
sation with  her  was  a  serious  matter.  She 
was  something  more  than  a  blue-stocking. 
She  was  not  handsome,  but  her  influence 
over  Liszt  was  unbounded.  She  it  was 
who  persuaded  him  to  abandon  a  cer- 
tain dilettanteism  in  music,  and  goaded 
his  genius  toward  the  more  serious  voca- 
tion of  a  composer ;  hence  they  may  both 


Autobiography  of  Rubinstein,         75 

be  looked  upon  as  sponsors  in  some  sort  to 
Wagner  and  the  music  of  the  future,  of 
which  Weimar  was  the  cradle.  (Madame 
Olivid  and  Madame  Wagner  were  both 
daughters  of  Liszt.)  I  spent  five  or  six 
months  there,  living  with  Liszt,  and  dining 
at  the  house  of  Madame  Witgenstein.  The 
personality  of  Liszt,  it  must  be  granted, 
was  most  unusual.  His  career  as  a  virtuoso 
had  ended  some  forty  years  prior  to  this 
time,  and  now,  septuagenarian  as  he  was, 
he  had  taken  it  up  again.  At  this  time, 
however,  the  impression  he  produced  was 
due  rather  to  his  clerical  title,  his  long 
silvery  hair,  and  his  advanced  age.  ...  I 
think  it  was  in  1871  that  Liszt  was  in- 
vited to  visit  Vienna;  I  was  there,  and 
conducted  the  orchestra  at  one  of  the  con- 
certs given  in  honor  of  his  visit.  We  met 
as  old  friends  sincerely  attached  to  each 
other.  I  knew  his  faults  (a  certain  pom- 
posity of  manner  for  one  thing),  but  al- 
ways esteemed  him  as  a  great  performer,  — 


']^        Autobiography  of  Rubinstein. 

a  performer-virtuoso,  indeed,  but  no  com- 
poser. I  shall  doubtless  be  devoured  piece- 
meal for  giving  such  an  opinion.  .  .  . 

My  object  in  removing  to  Western  Eu- 
rope at  that  time  was  to  introduce  myself 
as  a  composer.  Germany,  with  its  numer- 
ous petty  sovereignties,  was  then  a  kind  of 
Eldorado  for  the  arts  and  sciences.  .  .  . 
Each  court  vied  with  the  other  in  protect- 
ing science  and  the  fine  arts.  .  .  .  Each 
university  strove  to  attract  to  itself  the 
shining  lights  of  science.  The  universal 
standard  of  intelligence  and  intellectual 
development  in  general  was  carried  to  a 
much  higher  pitch  in  divided  Germany 
than  in  these  later  times,  now  that  it  is 
compressed  as  by  an  iron  ring  into  a  single 
great  kingdom.  .  .  .  Howsoever  absurd  may 
have  been  the  political  aspirations  of  di- 
vided Germany,  in  the  domain  of  intel- 
lectual development  she  knew  no  superior. 
Petty  sovereignties  as  a  rule  progress  more 
rapidly  than  those  of  greater  extent.   What 


Autobiography  of  Rubinstem.        yy 

was  Italy  before  her  unification,  and  what 
is  she  now  ?  It  was  this  very  intellectual 
greatness,  however,  that  laid  the  founda- 
tion for  the  political  strength  of  Germany 
and  her  present  unity,  which  already 
weighs  so  heavily  on  intellectual  progress. 
While  abroad  from  1854  to  1855  I  not 
only  visited  Germany,  but  London  and 
Paris  as  well,  giving  concerts  wherever  I 
went.  During  the  time  of  my  stay  in 
Vienna  I  wrote  for  one  of  the  musical 
journals  an  article  on  the  condition  of 
music  in  Russia,  in  which  I  spoke  of  Glinka 
with  reverence,  praising  him  to  the  skies, 
and  comparing  him  to  Beethoven  and  other 
masters  ;  but  the  other  composers  fared  ill 
at  my  hands.  I  was  justly  severe  upon  the 
ignorant  dilettanteism  of  clerks  and  land- 
lords, who,  saving  Glinka,  the  great  creator 
of  Russian  opera,  were  the  chief  rulers  in 
the  musical  circles  of  Russia.  Not  having 
the  habit  of  repentance  for  the  occasional 
follies  of  which  I  am  guilty,  I  cannot  say 


^8        Autobiography  of  Rubinstein. 

that  I  regret  the  article,  although  I  must 
fain  admit  that  it  was  a  great  piece  of  in- 
discretion on  my  part.  .  .  .  Well,  I  was 
severely  criticised  for  this  article  in  my 
own  country.  Torrents  of  vituperation  de- 
scended upon  my  head ;  all  those  Russian 
dilettanti  composers  and  amateurs  whose 
claims  I  had  ignored,  with  the  exception 
of  Glinka,  were  so  enraged  that  they  were 
about  to  bring  a  suit  against  me.  I  do  not 
remember  who  interfered  to  avert  the  catas- 
trophe, but  I  think  it  was  the  Grand  Duchess 
Helen.  ...  To  my  utter  surprise,  however, 
Glmka  himself  was  angry  with  me. 

I  had  known  Glinka  in  St.  Petersburg, 
and  had  always  had  the  highest  regard  for 
him,  and  he,  too,  had  been  very  friendly  with 
me;  but  when  I  called  on  him  in  Berlin, 
I  found  him  ill  and  irritable.  He  received 
me  coldly,  and  actually  reproached  me  for 
the  very  article  in  which  I  had  spoken  so 
enthusiastically  of  his  genius  and  compo- 
sitions.   Thus  we  parted ;  I,  deeply  grieved, 


Autobiography  of  Rtibinstein.        79 

and  saying,  as  I  bade  him  good-by,  that  I 
was  wholly  unprepared  to  learn  that  I  had 
incurred  his  displeasure,  for  I  had,  and  al- 
ways should  have,  the  highest  admiration 
for  his  genius. 

In  after  years  I  proved  my  sympathy  for 
the  author  of  the  "  Life  for  the  Czar  "  by 
something  more  substantial  than  words. 
I  was  the  first  person  to  start  a  subscrip- 
tion fund  for  his  monument,  five  thousand 
roubles  (the  proceeds  of  a  concert  I  gave) 
forming  the  nucleus.  I  may  say  without 
vain-glory  that  had  it  not  been  for  my  ef- 
forts, Heaven  alone  knows  when  the  monu- 
ment would  have  been  raised.  And  yet  on 
the  day  when  it  was  unveiled,  I  received 
from  the  managers  no  other  invitation  than 
the  ordinary  notice.  During  August  and 
September  of  1856, 1  spent  three  weeks  in 
Moscow.  Among  the  other  festivities  by 
which  the  coronation  of  the  Emperor  Alex- 
ander II.  was  celebrated,  were  several  con- 
certs at  the  palace  of  the  Grand  Duchess 


8o        Autobiography  of  Rubinstein. 

Helen.  Emperor  Alexander  II.  was  not 
particularly  fond  of  music.  At  the  con- 
certs given  by  the  Grand  Duchesses  Maria 
or  Helen,  he  would  generally  play  his  usual 
game  of  whist  in  the  adjoining  room,  and 
when  he  passed  through  the  concert  hall 
after  the  last  rubber,  it  was  a  signal 
for  the  concert  to  close.  Sometimes  he 
would  say  a  word  or  two  of  praise  to  one 
performer  or  another.  It  must  be  borne 
in  mind,  however,  that  he  was  preoccupied 
with  questions  of  the  greatest  importance 
to  the  general  welfare  of  our  country,  and 
had  but  little  time  to  devote  to  music  ;  and 
yet  his  reign  marks  an  era  even  in  this 
art,  for  one  of  the  chief  objects  of  his  re- 
gime was  to  excite  the  spirit  of  activity  in 
Russian  society,  to  animate  it  with  a  new 
life,  and  to  set  it  free  not  only  from  the 
bonds  of  serfdom,  but  also  from  many  an- 
other fetter  which  had  till  then  constrained 
it.  Thus  his  reign  forms  a  brilliant  epoch 
in  the  annals  of  Russian  music.     After  the 


Autobiography  of  Rubmstein.        8i 

coronation,  the  Empress-Dowager  Alexan- 
dra and  the  Grand  Duchess  Helen  proceeded 
to  Nice.  I  too  received  an  invitation  from 
the  Grand  Duchess  to  spend  some  time  at 
her  court,  in  which  I  held  the  office  of 
"  Janitor  of  Music,"  a  title  I  had  jestingly 
given  myself. 

I  have  charming  recollections  of  this 
winter  from  1856  to  1857,  which  was  spent 
in  Nice.  The  Empress  Alexandra,  bowed 
down  with  grief  for  the  death  of  her  hus- 
band and  the  result  of  the  Crimean  war, 
still  liked  to  keep  the  young  people  around 
her  bright  and  cheerful ;  and  many  of  the 
members  of  the  Imperial  family  visited 
her  there.  Among  others  the  Grand  Duke 
Constantin  came,  and  the  Grand  Dukes 
Nicholas  and  Michael  spent  weeks  at  a 
time,  accompanied  by  their  suites.  I 
well  remember  some  of  them,  —  Count 
Matthew  Vielgorski,  Adjutant  Apraksin, 
and  others.     There  was  no   end  to  jokes 

and  merriment.  .  .  .  Once  we  arranged  a 
6 


82        Autobiography  of  Riihinstem. 

mock  serenade  to  amuse  the  Empress.  "We 
all  wore  masks,  and  each  one  played  on 
the  musical  instrument  with  which  he  was 
least  familiar.  Thus  Vielgorski  took  a 
bass-viol,  I  a  kettle-drum,  the  Grand  Dukes 
each  one  odd  instrument  or  another,  and 
the  masked  orchestra  entered  the  apart- 
ments of  the  Empress.  She  was  some- 
what startled  at  the  first  sounds  of  this 
chaotic  music,  but  afterward  laughed  and 
joked  over  the  wild  prank.  .  .  .  The  Em- 
press Alexandra  was  always  affable  and 
charming  in  her  manners.  .  .  .  While  stay- 
ing at  Nice  the  Court  spared  no  money. 
King  Victor  Emmanuel  came  there  repeat- 
edly, and  did  all  in  his  power  to  amuse 
his  Imperial  guests ;  although  during  the 
Crimean  war  he  had  been  the  ally  of  our 
enemies,  now  that  the  war  was  over  he 
strove  by  every  means  to  efface  all  unfa- 
vorable impressions  from  the  heart  of  the 
widow  of  the  Emperor  Nicholas.  ...  It 
was  then  that  I  made  the  acquaintance  of 


Autobiography  of  Rubinstein.        83 

Cavour,  the  creator  of  Italian  unity.  .  .  . 
On  the  whole,  our  season  in  Nice  was  ex- 
tremely pleasant.  We  had  constant  visitors 
from  Russia ;  the  Grand  Duchess  Helen 
even  bought  a  villa  there.  .  .  .  We  played, 
sang,  and  enjoyed  music  to  our  hearts' 
content;  and  long  and  frequent  were  the 
discussions  about  the  music  of  our  father- 
land. The  Grand  Duchess  Helen,  with 
her  usual  sympathy,  became  deeply  ab- 
sorbed in  this  matter.  Count  Matthew 
Yielgorski  and  I,  as  well  as  others  who 
belonged  to  her  circle,  took  an  active  part 
in  these  conversations.  We  talked  a  great 
deal  about  it,  and  all  acknowledged  that 
the  state  of  music  in  Russia  was  deplora- 
ble. We  all  unanimously  agreed  —  the 
Grand  Duchess  particularly  favoring  it  — 
that  on  our  return  to  St.  Petersburg  some- 
thing must  be  done  for  the  musical  educa- 
tion of  Russian  society ;  and  it  was  there 
in  Nice,  under  the  beautiful  skies  of  Italy, 
that  the  first  conception  of  the  Russian 


$4        Autobiography  of  Rubinstein. 

Musical  Society  in  St.  Petersburg  took  its 
origin.  ...  In  1857  the  Grand  Duchess 
returned  to  St.  Petersburg;  and  I,  after 
having  visited  Paris  and  London,  also 
returned  to  Russia. 


CHAPTER  IX. 

Vas8ili  Aleks^yevich  Kologrivov.  —  Foundation  in 
St.  Petersburg  of  the  Russian  Musical  Society, 
now  the  Imperial.  —  My  first  idea  of  founding 
the  degree  of  Bachelor  of  Music  in  the  depart- 
ment of  music.  —  Friends  and  opponents  of  the 
Russian  Musical  Society.  —  Serov.  —  The  first 
concerts  of  the  Russian  Musical  Society.  —  A 
new  feature  of  musical  education  in  Russia. 

1858-1859. 

ONE  of  the  first  to  comprehend  and 
sympathize  with  our  project  for 
founding  the  Russian  Musical  Society  was 
Kologrivov,  an  energetic  worker,  whom 
I  had  known  well  since  1852.  A  land 
proprietor  in  the  government  of  Tula,  for 
some  time  a  clerk  in  one  of  the  civil  de- 
partments, but  now  retired,  Vasslli  Alek- 
s^yevich  was  an  excellent  'cellist  and  an 
ardent  lover  of  music.  ...  At  first  he 
made  an  attempt  to  animate  the  Russian 
opera  troupe.     He  had  in  some  way  con- 


86        Autobiography  of  Rubinstein. 

nected  himself  with  the  theatre ;  but  on 
one  occasion,  in  the  presence  of  all  the 
troupe,  Fiodorov  spoke  to  him  so  sharply 
that  Kologrivov  gave  up  both  the  theatre 
and  his  project.  The  noble  individuality 
of  Kologrivov  was  never  recognized  by  our 
public  or  by  the  press,  and  now  he  seems 
to  be  almost  wholly  forgotten.  I  may  add 
that  even  during  his  lifetime  Kologrivov 
was  but  little  appreciated.  .  .  .  Full  of  in- 
domitable energy,  and  with  an  ardent  fa- 
naticism verging  upon  rudeness,  he  devoted 
himself  to  the  pioneer  task  of  establishing 
and  organizing  the  Musical  Society.  He 
drafted  into  the  society  every  man  he 
could  find ;  he  fairly  took  possession  of 
people  in  the  streets ;  he  would  explain, 
demonstrate,  almost  drag  them  in  by  main 
force ;  he  was  a  man  of  expedients.  In 
a  word,  he  labored  for  the  society,  not  only 
previous  to  its  foundation,  but  during  the 
early  years  of  its  existence.  He  worked 
in  the    true    spirit  of    self-sacrifice,  and 


Autobiography  of  Rubinstein.        87 

regardless  of  his  own  interests,  devoted 
his  entire  fortune  to  the  cause.  He  died  a 
poor  man.  His  widow,  a  worthy  lady,  is 
working  at  this  very  day  as  a  music- 
teacher  in  the  Kiev  Institute.  .  .  .  We  owe 
a  debt  of  gratitude  to  the  memory  of  Kolo- 
grivov ;  in  the  first  place  for  his  labors  in 
founding  the  Musical  Society,  and  secondly 
for  the  establishment  of  the  conservatories 
in  St.  Petersburg,  Moscow,  and  Kiev.  In- 
credible as  it  may  seem^  the  enemies  of 
the  new  society  were  to  be  found  on  every 
hand.  They  spoke,  declaimed,  wrote,  and 
printed  against  it;  they  even  condemned 
our  audacity  in  calling  the  new  society 
"  Russian."  And  had  it  not  been'  for  the 
enlightened  patronage  of  the  Grand  Duch- 
ess Helen  and  the  energy  of  Kologrivov,  the 
enterprise  could  never  have  been  carried 
out  so  rapidly  and  successfully  as  it  was. 

It  must  be  admitted  that  we  conducted 
our  affair  with  great  circumspection.  We 
were  well  aware  of    the  tedious    delays 


88        Autobiography  of  Rubinstein. 

awaiting  us  in  the  various  departments  if 
we  should  ask  for  the  ratification  of  new 
by-laws  for  the  society,  —  for  the  atmos- 
phere was  still  charged  with  the  traditions 
of  the  Nicholas  regime,  when  the  founda- 
tion of  any  society  whatsoever  was  a 
matter  of  extreme  difficulty.  We  called 
to  mind  the  existence  of  a  certain  Society 
of  Musical  Amateurs  connected  with  the 
Court  chapel,  who  were  favored  by  the 
government,  and  were  in  the  habit  of  giv- 
ing symphony  concerts.  In  the  beginning 
they  had  a  fine  orchestra,  conducted  by 
old  Louis  Maurer ;  but  for  the  past  few 
years  this  society  had  been  practically 
dead,  and  our  plan  was  to  restore  it  to 
life,  that  we  might  take  advantage  of  its 
ready-made  by-laws.  All  we  asked  was 
permission  to  continue  what  had  been  pre- 
viously allowed,  —  that  is  to  say,  to  come 
together  for  the  purpose  of  playing  and 
singing. 

"  Certainly,  if  you  wish  to  sing  and  play 


Autobiography  of  Rubinstein.        89 

you  may  do  so ;  you  have  already  had  per- 
mission to  do  that,"  was  the  answer  we 
received.  And  thus  it  was  to  all  appear- 
ance on  the  old  foundations,  and  under  the 
guise  of  the  old  set  of  musical  amateurs, 
who  had,  so  to  speak,  come  to  life  again, 
that  we  started  the  new  Russian  Musical 
Society,  which  now  bears  the  title  of  "  Im- 
perial." Within  the  Michael  Palace  those 
classes  were  formed  which  may  be  regarded 
as  the  nucleus  of  the  St.  Petersburg  Con- 
servatory, founded  in  1862. 

In  the  same  palace  a  mixed  choir  of 
amateurs  was  quickly  formed,  and  lectures 
delivered  before  the  classes.  Leschetizki 
was  professor  of  the  piano,  Madame  Nis- 
sen-Salomon  of  vocal  music,  Wieniawski 
of  the  violin,  etc  ;  I  assumed  the  director- 
ship of  this  embryo  conservatory.  In 
order  to  raise  funds  for  the  establishment, 
we  used  to  give  concerts  nearly  every  day ; 
and  the  excitement  and  competition  were 
widespread  and  universal. 


90        Autobiography  of  Rubinstein. 

But  the  birth  of  this  new  musical  asso- 
ciation was  an  extremely  critical  event. 
Music  was  at  a  low  ebb  in  Eussia.  The 
professional  artist  was  unknown ;  we  had 
amateurs  in  plenty,  not  to  mention  Maece- 
nas-musicians, also  a  crowd  of  devotees 
to  the  Italian  opera,  —  landlords  and  cTiin- 
ovniks-melomans,  —  but  as  to  professional 
musicians,  there  was  not  one  to  be  found. 
Kologrivov  and  I,  pioneers  and  innovators 
as  we  were,  devoted  our  energies  to  start- 
ing an  institution  in  which  a  musician 
might  win  the  degree  of  Bachelor  of  Mu- 
sic, —  a  title  similar  to  that  bestowed  by 
the  Academy  of  Fine  Arts  on  painters, 
sculptors,  and  architects. 

I  will  relate  in  passing  the  seemingly  in- 
significant incident  that  first  gave  me  the 
idea  of  defining  the  status  of  a  musician  in 
Russian  society,  so  that  by  itself  alone, 
without  the  addition  of  merchant,  clerk,  or 
landowner,  this  title  would  ensure  for  its 
bearer  a  recognized  position. 


Autobiography  of  Rubinstein.         91 

On  one  occasion  while  I  was  performing 
my  religious  duties,  I  went  to  the  confes- 
sion in  the  Kazan  Cathedral.  After  con- 
fession I  proceeded  to  the  table  to  have  mj 
name  enrolled  in  the  books.^  The  deacon 
began  his  inquiries. 

"  Your  name,  rank,  {cliin)  and  voca- 
tion?" 

"  Rubinstein,  artist,"  I  said. 

"  Are  you  employed  in  the  theatre  ?  " 

«  No." 

"  Then  perhaps  you  give  lessons  in  some 
school?" 

"  I  do  not,"  I  replied. 

The  deacon  appeared  surprised,  but  no 
more  so  than  I.     We  both  remained  silent. 

"  I  am  a  musician,  an  artist,"  1  repeated. 

"  Yes,  I  understand  ;  but  are  you  in  the 
government  service  ?  " 

1  The  Russian  law  obliges  every  adult  belonging 
to  the  Greek  Church  to  go  to  confessional  once 
in  three  years.  The  records  of  names  are  set  dowTi 
in  books  kept  for  that  purpose.  —  Tr. 


92        Autobiography  of  Rubinstein. 

"  I  told  you  that  I  was  not." 

"  Who  are  you  then  ?  How  shall  we 
describe  you  ?  " 

For  several  minutes  the  questioning 
went  on.  I  know  not  how  it  would  have 
ended  had  it  not  occurred  to  the  deacon  to 
say,— 

"  May  I  ask  your  father's  profession  ?  " 

"  A  merchant  of  the  second  guild." 

"  Now,  then,  we  understand  ! "  exclaimed 
the  deacon,  greatly  relieved.  "  You  are 
the  son  of  a  merchant  of  the  second  guild, 
and  as  such  we  shall  inscribe  your  name." 

These  questions  and  the  careful  defini- 
tion of  my  social  position  left  an  indelible 
impression  upon  my  mind.  Evidently  the 
name  and  estate  of  a  musician,  universally 
acknowledged  in  other  lands,  had  in  Rus- 
sia no  clearly  defined  meaning.  Who  was 
Glinka  after  all  ?  A  landowner,  a  noble- 
man in  the  government  of  Smolensk. 
Ser6v  ?  An  official  in  the  Post-office  De- 
partment. ...  In  fact,  all  who  had  to  do 


Autobiography  of  Rubinstein.        93 

with  music,  whether  as  performers  or  com- 
posers, were  either  noblemen,  government 
officials,  attaches  of  the  theatre,  or  peda- 
gogues in  public  or  private  schools,  etc. 
Was  it  possible  that  a  man  who  had 
adopted  music  for  his  profession  had  no 
recognized  position  in  Russia  as  a  musician 
pure  and  simple. 

The  deacon  of  the  Kazan  Cathedral 
called  forth  this  thought  in  me,  put  this 
problem  before  me,  and  several  years  later 
Kologrivov  and  myself  solved  it.  The 
conservatory  in  Russia  created  from  its 
pupils  a  new  class  of  citizens  called 
"  Bachelors  of  Music."  It  was  not  until 
1860  that  the  Russian  musician  won  for 
himself  that  acknowledged  position  which 
the  painter  had  held  for  a  hundred  years, 
and  which,  thanks  to  the  influence  of  Sum- 
arokov,  the  founder  of  the  Russian  theatre, 
had  also  been  enjoyed  by  the  Russian  actors. 

Kologrivov  was  indeed  a  man  of  remark- 
able character,  energetic,  inspired  with  the 


94        Autobiography  of  Rubinstein . 

enthusiasm    of    the   pioneer,   and    loving 
music  with  his  whole  soul.  .  .  . 

Men  who  are  ready  to  strike  out  for 
themselves  in  unbeaten  paths  and  to  de- 
vote all  their  energies  to  the  attainment  of 
their  goal  are  by  no  means  common  in 
Russian  society ;  in  truth,  I  know  none 
such.  ...  A  fine  musician  and  finely  edu- 
cated man,  intimate  with  the  best  musical 
circles  of  Europe,  Kologrivov  had  encour- 
aged and  protected  both  Pikkel  and  Weik- 
man,  those  famous  pillars  of  the  orches- 
tra, now  aged  men.  Karl  Schuberth,  the 
never-to-be-forgotten  Fitztum  (Inspector  of 
University  students),  Lavonius,  Skorduli 
(whose  daughter  was  a  known  singer  in 
her  day),  Shiistov,  the  architect's  son,  all 
belonged  to  Kologrivov's  set.  .  .  .  This 
circle  was  made  up  of  men  who  inhaled 
music  with  every  breath  they  drew,  for 
whom  it  was  the  very  alpha  and  omega  of 
their  existence.  .  .  .  Such  men  have,  I 
grieve  to  say,  utterly  died  out ! 


Autobiography  of  Rubinstein.         95 

It  cannot  be  denied  that  the  present 
time  (I  am  speaking  of  the  musical  world) 
is  in  many  respects  far  in  advance  of  the 
old  days  of  1859  and  1860;  art  is  more 
widely  diffused,  and  its  devotees  are  more 
numerous,  —  but  alas  for  the  ardent  love 
that  once  filled  our  hearts !  Yery  little 
trace  of  that  remains.  .  .  . 

I  have  already  spoken  of  the  enthusiasm 
kindled  in  the  hearts  of  those  who,  under 
the  patronage  of  the  Grand  Duchess  Helen, 
had  labored  in  behalf  of  the  Russian  Mu- 
sical Society  and  its  early  classes  in  her 
palace.  .  .  .  The  best  musical  talent  in  St. 
Petersburg  was  offered  almost  free  of 
charge  for  the  promotion  of  the  good  work  ; 
Zaremba,  Leschetizki,  Nissen-Salomon, 
Wieniawski,  and  others  asked  but  a  rou- 
ble a  lesson  in  the  classes  at  the  Michael 
Palace.  And  these  classes  were  soon 
crowded  with  pupils  of  different  ages  and 
degrees  of  social  standing,  all  eager  to  gain 
a  hicrher   musical   education,  .  .  .  An  or- 


g6        Autobiography  of  Rubinstein. 

chestra  and  choruses  were  organized.  .  .  . 
The  Grand  Duchess  took  a  deep  interest  in 
this  enterprise  ;  she  frequented  the  classes, 
contributed  to  their  support,  and  bestowed 
her  patronage  not  only  by  smiles  and 
gracious  demeanor,  but  by  substantial 
pecuniary  aid.  .  .  .  Ah,  the  definition  of 
patronage  has  suffered  a  change  since 
those  days ;  it  no  longer  signifies  money, 
and  more's  the  pity,  since  money  is  the 
nerve  of  every  enterprise. 

At  the  head  of  this  musical  society  stood 
Count  Matthew  Vielgorski,  Kologrivov, 
Stasov,  Kanshin,  and  myself.  Kanshin  had 
intended  to  start  a  separate  society  in  St. 
Petersburg ;  but  in  order  to  promote  unity 
of  action  as  well  as  to  avoid  weakening  our 
forces  by  division,  we  invited  him  to  join 
ours.  "When  he  joined  us,  he  promised  to 
influence  a  large  number  of  men  of  fortune  ; 
and  although  the  event  proved  him  unable 
to  fulfil  his  promise,  he  was'  individually  a 
very  useful  member.  .  .  . 


AntobiograpJiy  of  Riibinstem.        97 

We  leaders,  together  with  our  eo  workers, 
visited  several  of  the  wealthy  residents  of  St. 
Petersburg,  soliciting  contributions ;  and 
the  first  year  we  collected  quite  a  respect- 
able sum,  —  several  thousand  roubles.  We 
were  like  priests  going  from  house  to  house 
glorifying  Christ ^  and  collecting  alms;  we 
visited  Prince  Yusiipov,  Bernadaki,  Gromov, 
and  others.  Some  gave  one  hundred,  some 
three  hundred,  and  some  five  hundred  rou- 
bles. Several  ladies  in  the  higher  circles 
labored  indefatigably  in  behalf  of  our  con- 
servatory. Madame  Y^rigin  (wife  of  a 
member  of  the  Council  of  State)  collected  by 
subscription  about  three  thousand  roubles 
at  one  time ;  Madame  Abaza,  nSe  Stub^, 
undertook  the  charge  of  our  modest  treas- 
ury ;  Princess  Elizabeth  Witgenstein,  nSe 
Eyler,  collected  rouble  after  rouble  for  our 

*  At  Christmas  and  Easter,  Russian  priests  go 
from  house  to  house,  singing  certain  short  prayers, 
for  which  they  receive  a  small  sum.  This  is  called 
"glorifying  Christ."  —  Tr. 


98        Autobiography  of  Rubinstein. 

enterprise.  The  enthusiasm  and  energy 
were  truly  remarkable,  and  yet  we  found  no 
lack  of  opponents.  .  .  .  Opposition  sprang 
up  in  various  official  circles ;  for  instance,  it 
was  reported  that  the  Director  of  the  Court 
chapel,  Lvov,  had  threatened  to  discharge 
any  of  his  singers  who  dared  to  take  part 
in  our  concerts  during  Lent.  A  "  free 
school"  started  upas  rival:  "  You  demand 
payment  for  instruction,  but  we  invite  pu- 
pils to  come  to  us,  free  of  charge  ! "  With 
scant  courtesy  Serov  thundered  against  us 
everywhere,  in  the  public  ways  as  well  as 
in  print.  "  They  are  a  set  of  Germans,  pro- 
fessional pedants  ! "  he  declaimed  on  every 
side  ;  and  all  this  because  we  had  not  invited 
him  to  become  a  director  in  the  Musical 
Society,  or  offered  him  any  position  what- 
soever. .  .  .  Theophilus  Tolstoi,  who  wrote 
musical  criticisms  under  the  name  of  Ros- 
tislav,  was  another  of  our  detractors ;  the 
fact  was  that  every  man  was  eager  to  gain 
•a  place,  and  we  had  none  to  give.     When 


Ajitobiography  of  Rubinstein.         99 

we  after\yard  learned  the  secret  of  their 
animosity,  we  began  to  create  places  for  our 
opponents.  We  appointed  several  commit- 
tees connected  with  the  society ;  one,  for 
instance,  to  examine  musical  compositions, 
another  to  draw  up  programmes,  etc.  We 
invited  the  railers  to  become  members  of 
these  committees,  and  thus  succeeded  in 
pacifying  their  outbursts  of  envy  by  grati- 
fying their  personal  ambitions. 

A  word  about  Serov.  He  was  undeniably 
a  talented  man ;  he  had  a  thorough  know- 
ledge of  the  stage,  and  of  everything  apper- 
taining to  it.  Possessed  of  a  certain  kind 
of  instinct,  he  might  have  gone  very  far  in 
the  composition  of  operas ;  but  unfortu- 
nately, the  want  of  aesthetic  training  was 
only  too  evident ;  his  productions  lack  re- 
finement, and  give  but  slight  evidence  of 
artistic  feeling.  ...  I  do  not  know  what 
ideals  of  art  he  may  have  cherished  in  youth, 
but  he  was  consumed  by  a  morbid  self-es- 
teem and  ambition.  .  .  .  Carried  away  by 


100      Autobiography  of  Rtibinstein. 

his  desire  to  be  conspicuous,  what  surpris- 
ing statements  has  he  not  made  in  his  essays 
on  music  and  in  his  lectures  on  art !  He 
even  went  so  far  as  to  protest  against  music 
schools.  .  .  .  Out  of  the  great  mass  of  his 
writings  I  have  read  but  very  little,  and 
even  this  little  seemed  absurd  to  me.  .  .  . 
This  remarkable  man  was  an  extremist. 
At  times  he  hardly  seemed  to  realize  the 
full  significance  of  what  he  was  doing  and 
saying ;  as  for  instance  when  he  denied  the 
advantage  of  conservatories,  and  of  musical 
education  in  general. 

In  the  first  three  years  of  the  existence  of 
the  Russian  Musical  Society,  the  concerts 
were  given  in  the  house  of  Yellissdyev,  near 
the  Police  Bridge,  where  the  Club  of  the 
Nobles  is  now  located.  The  audiences  were 
large,  filling  the  hall  to  its  utmost  capacity. 
One  original  feature  of  these  very  success- 
ful concerts  was  the  programme  contain- 
ing bibliographical  details  concerning  the 
composers  whose  works  were  given.     But 


Autobiography  of  Rubinstein.       lOi 

however  great  the  success  of  these  con- 
certs, it  was  but  as  a  drop  in  the  ocean 
compared  with  the  influence  that,  thanks 
to  the  activity  of  the  Russian  Musical  So- 
ciety, gradually  effected  a  transformation 
in  the  method  of  teaching  music  through- 
out all  Russia,  in  the  institutes,^  schools, 
and  in  families.  .  .  .  Hitherto,  the  musical 
training  of  the  girls  and  boys  had  amounted 
to  no  more  than  the  drumming  of  some 
foolish  air  to  celebrate  papa's  or  mamma's 
birthday,  or  to  do  honor  to  the  principal 
of  the  school ;  but  in  these  days  a  musical 
education  is  a  more  serious  matter.  We 
all  know  that  it  is  regarded  as  an  impor- 
tant factor  in  every  school  and  institute. 
The  former  pupils  of  the  St.  Petersburg 
Conservatory,  and  other  numerous  estab- 
lishments throughout  Russia,  of  which  that 
is  the  prototype,  have  effected  a  complete 
change  in  the  methods  of  musical  instruc- 

^  High   schools  exclusively  for  daughters  of  the 
nobility.  —  Tb. 


102      Autobiography  of  Rubinstein. 

tion  in  Russia.  .  .  .  Great  changes  have 
taken  place  in  Moscow  under  the  direc- 
tion of  mj  deceased  brother,  Nicholas  Ru- 
binstein, and  his  able  successors.  He  acted 
in  accordance  with  my  advice :  "  Make  haste 
and  enlist  as  many  members  as  possible," 
I  said.  "  Summon  all  your  energy  and 
courage,  and  lose  no  time  in  organizing 
your  musical  society."  His  success  was 
partly  due  to  the  fact  that  there  was  no 
competition  in  Moscow,  and  largely  to  the 
generous  response  of  the  citizens  to  his 
appeal  in  behalf  of  musical  education. 


CHAPTER  X. 

Musical  classes  in  the  Michael  Palace.  —  The  teachers 
and  scholars.  —  The  Music  School.  —  The  Conser- 
vatory. —  The  first  professors  and  the  first  gradua- 
ting classes  of  pupils  of  both  sexes.  —  Relations  of 
society  to  the  Conservatory,  and  its  demands  upon 
it.  —  Services  rendered  to  Russia  by  the  Conserva- 
tory, 

1859-1867. 

MEANWHILE  the  "  musical  classes  " 
of  the  Michael  Palace  were  gradu- 
ally developing  into  a  conservatory.  .  .  . 
By-laws  were  drawn  up,  and  an  establish- 
ment founded.  It  must  be  remembered 
that  this  was  a  time  of  ultra-patriotism. 
...  In  framing  the  by-laws  we  deemed 
it  wiser  to  avoid  foreign  words,  and  con- 
sequently would  not  think  of  calling  our 
school  a  "  Conservatory,"  and  therefore  we 
called  it  the  "  Music  School."  Neither 
would  our  teachers  bear  the  title  of  "  pro- 
fessor," since  that  too  is  a  foreign  word, 


104      Autobiography  of  Rubinstein, 

but  must  be  called  "instructors."  The 
by-laws  were  presented  and  ratified  in 
1862,  and  the  result  proved  that  in  our 
struggle  to  adhere  to  the  vernacular,  we 
had,  to  some  extent,  injured  our  position  ; 
for  the  title  of  professor  in  Russia  indi- 
cates a  far  more  honorable  rank  than  that 
of  instructor.  However,  in  1873,  after  the 
death  of  the  Grand  Duchess  Helen,  when 
the  Grand  Duke  Constantin  became  the 
patron  of  the  Conservatory,  the  by-laws 
were  amended.  The  Music  School  was 
turned  into  a  Conservatory,  and  the  "  in- 
structors "  into  "  professors." 

I  was  its  first  director,  serving  from 
Sept.  1, 1862  to  1867.  Gerke,  Leschetizki, 
Dreischok,  Davydov,  Nissen-Salomon,  Wieni 
^wski,  Schuberth,  Peterson,Weikman,  Zabel, 
Chiardi,  Zardmba,  Villoing,  Luft,  Metzdorf, 
Yoy^chek,  Cavalini,  Fererro,  Repetto,  Yan- 
Ark,  Kross,  Zeifert,  Famintsin,  Rubetz,  Jo- 
hanson,  Czerny,  and  other  musicians  well 
known  in  Russia,   were  by   turns    profes- 


Autobiography  of  Rubinstein.       105 

sors    and    tutors    of    the    first     Russian 
conservatory. 

The  members  of  our  first  class  were  really 
artists  and  connoisseurs  :  Tchaikovski,  Ry- 
basov,  Laroche,  Madame  Lavrovski,  Ma- 
dame Essipov,  Mademoiselle  T^rminski, 
Mademoiselle  Malozyemov  (now  one  of 
its  teachers),  Mademoiselle  Iritzki,  3Iade- 
moiselle  Minkvitz,  Mademoiselle  Timanov 
(she  too  was  afterward  professor,  and  has 
since  removed  to  Berlin),  Albrecht,  Made- 
moiselle Sp^sski  (a  fine  musician,  who 
founded  a  music  school  in  Vilno),  Puchi- 
lov,,  Salin  (violinists),  Hommelius  (organ- 
ist), Makarov,  Kross  (he  and  Tchaikovski 
received  medals),  may  be  mentioned  among 
others.  This  affluence  of  talent  in  the  first 
class  may  be  ascribed  to  the  fact  that  in 
the  beginning  of  1860  Russian  society  sent 
from  its  midst  as  pupils  to  the  Conserva- 
tory, men  and  women  of  ripe  talents  ;  it 
had  waited  long  for  just  such  an  institu- 
tion, and  rapid  indeed  was  its  growth. 


io6      Autobiography  of  Rubinstein. 

Toward  the  end  of  the  first  terra  of  my 
directorship,  the  number  of  pupils  increased 
to  two  hundred ;  and  it  continued  to  in- 
crease until  seven  hundred  pupils  of  both 
sexes  had  enrolled  their  names.  This  seems 
to  me  to  have  been  a  serious  mistake.  A 
conservatory  should  grow  in  height,  so  to 
speak;  and  instead  of  this  it  grew  in  breadth, 
and  became  a  music-factory.  And  now, 
when  after  many  years  I  am  again  its  direc- 
tor, I  shall  certainly  bring  all  my  influence 
to  bear  to  restore  the  factory  to  a  studio, 
and  I  am  not  without  hope  of  success. 

Returning  to  the  period  of  the  founda- 
tion of  the  Conservatory  in  St.  Petersburg, 
I  will  relate  a  few  incidents  in  order  to 
illustrate  the  relations  of  Russian  society 
to  this  new  institution.  Many  of  our  ladies 
openly  expressed  their  surprise  that  an 
establishment  for  musical  education  should 
be  thoroughly  Russian.  On  introducing 
her  young  daughter  to  me,  some  fashion- 
able ladv  would  remark  in  French, — 


Autobiography  of  Rubinstein.       107 

"  Monsieur  Rubinstein,  I  have  brought 
my  daughter;  I  hope  she  will  benefit  by 
your  musical  instruction,  and  also  keep  in 
practice  with  languages." 

"  But  all  our  lessons  are  given  in 
Russian." 

"  What,  music  in  Russian !  "  exclaims 
the  astonished  lady.  "  That  is  an  original 
idea !  " 

And  surely  it  was  surprising  that  the 
theory  of  music  was  to  be  taught  for  the 
first  time  in  the  Russian  language  in  our 
Conservatory.  Professor  Zaremba,  a  Pro- 
testant, and  something  of  a  fanatic,  taught 
it  in  Russian.  Hitherto,  if  any  one  wished 
to  study  it,  he  was  obliged  to  take  lessons 
from  a  foreigner,  or  to  go  to  Germany. 
.  .  .  Zaremba  understood  his  business  thor- 
oughly, and  his  services  were  invaluable  to 
the  Conservatory. 

It  was  by  no  means  unusual  to  learn 
that  our  new  establishment  was  regarded 
as   a   place   especially  adapted  for   weak- 


io8      Autobiography  of  Rubinstein. 

minded  children.  "Monsieur  Rubinstein," 
some  afflicted  mamma  would  say,  as  she 
brought  in  her  half-witted  boy,  "  I  was 
obliged  to  take  my  son  away  from  such 
and  such  an  establishment  on  account  of 
ill  health  "  (in  others  words  for  incapacity) ; 
"  what  shall  I  do  with  him  ?  I  had  thought 
that  if  I  were  to  place  him  in  your  Con- 
servatory, it  might  be  easier  for  him.  He 
could  take  up  a  few  branches,  and  might 
possibly  develop  a  talent  for  music." 

Under  these  circumstances  what  could 
be  done  ?  Of  course  I  must  say  to  these 
ladies  that  only  an  intelligent  and  studi- 
ous child,  sound  in  body  as  well  as  in 
mind,  can  be  admitted  to  the  Conservatory. 

Our  decision  to  introduce  other  branches 
of  instruction  besides  music  proved  very 
attractive  to  parents  of  an  economical  turn 
of  mind,  who  argued  that  it  must  cost  less 
to  send  their  children  to  the  Conservatory 
than  to  other  schools.  Certain  privileges 
relating    to    military    service    had    been 


Autobiography  of  Rubinstein.       109 

granted  to  the  Academy  of  Fine  Arts,  and 
when  the  same  privileges  were  bestowed 
on  us,  young  men  were  to  be  found,  who, 
without  one  spark  of  musical  talent,  know- 
ing that  a  diploma  would  secure  to  them 
exemption  from  two  years  military  duty, 
sought  refuge  beneath  the  hospitable  roof 
of  the  Conservatory,  Of  course  such 
cases  were  not  numerous ;  .  •  .  still  they 
did  occur,  and  surely  the  cause  of  music 
gained  nothing  from  them !  The  Conserva- 
tory expanded,  especially  during  my  ab- 
sence ;  and  the  rapid  increase  of  students 
had  its  essential  disadvantages.  Under  the 
directorship  of  Zaremba,  Azanchevski  and 
Davydov,  no  doubt  much  good  was  accom- 
plished, and  yet  many  mistakes  were  made. 
One  serious  mistake  was  the  comparative 
ease  with  which  diplomas  were  won,  since 
many  of  the  students  (I  am  speaking  of 
the  men),  were  not  animated  with  the  love 
of  art,  or  possessed  of  a  talent  for  it.  They 
valued  their  diploma  solely  as  a  means  of 


1 10      Autobiography  of  Rubinstein. 

shortening  their  term  of  military  service. 
Such  students  as  these,  as  I  said  before, 
were  of  no  advantage  to  the  cause  of  music. 
Another  mistake  was  the  introduction  of 
scientific  branches  into  the  curricuhim  of 
the  Conservatory,  A  conservatory  sliould 
be  a  musical  university  in  the  strict  sense 
of  the  word  ;  a  young  person  should  not  be 
admitted  without  a  certain  degree  of  edu- 
cation, and  there  should  be  no  opportunity 
for  preparatory  classes. 

After  all,  our  conservatories  have  done 
good  service.  Through  their  influence 
the  light  of  musical  education  has  spread 
throughout  all  Russia.  The  St.  Peterburg 
Conservatory  alone,  —  not  to  mention  that 
of  Moscow,  and  the  schools  at  Kiev,  Khar- 
kov, SarMov,  Tiflis,  Odessa,  and  even  in 
Omsk  (Siberia),  —  has  given  birth  to  a 
group  of  remarkable  musicians,  a  few  of 
whom  I  will  mention:  Tchaik6vski,  a 
graduate  of  the  tlcole  des  Droits,  a  com- 
poser of  genius,  known  throughout  Europe, 


Autobiography  of  Rubinstein.       1 1 1 

although  barely  fifty  years  of  age ;  Madame 
Lavrovski  the  contralto ;  Madame  £ssipov 
the  pianist ;  the  late  Hubert,  director,  and 
successor  of  Nicholas  Rubinstein  at  the 
Moscow  Conservatory;  Kross  the  pianist, 
and  former  professor  in  the  St.  Petersburg 
Conservatory ;  Laroche,  a  highly  educated 
man,  who  wields  a  clever  pen  as  musical 
critic,  and  understands  the  theory  of  music 
better  than  most  professors  (he  had  been 
professor  in  the  Moscow  Conservatory)  ; 
Altani,  a  remarkable  orchestra  leader,  and 
many  others.  The  competent  teachers  who 
have  been  graduated  from  the  Conservatory 
may  be  reckoned  by  the  dozens ; .  .  .  but  in 
regard  to  singing,  it  is  difficult  to  say  who 
are  the  superior  and  who  the  inferior  teach- 
ers. They  may  be  compared  to  physicians, 
—  not  even  the  most  successful  among  them 
can  ensure  life  ;  and  the  best  master  in  the 
world  may  ruin  the  voice  of  his  pupil  when 
trying  to  cultivate  it. 


CHAPTER  XL 

Leaving  the  Conservatory.  —  My  concerts.  —  Artistic 
tour  in  America.  —  Wieniawski.  —  Tlie  different 
degrees  of  musical  appreciation  in  the  different 
nations. 

1867-1872. 

IN  the  month  of  September,  1867,  having 
disagreed  with  some  of  its  professors 
as  to  the  objects  and  methods  of  instruc- 
tion, I  left  the  Conservatory.  This  breach 
was  partly  caused,  no  doubt,  by  my  hasty 
temper ;  for  I  am  ever  in  deadly  earnest, 
and  the  affairs  of  the  Conservatory  lie 
very  close  to  my  heart. 

While  I  was  connected  with  the  Conser- 
vatory, and  ever  since  that  time,  I  have  had 
the  habit  of  giving  many  concerts.  I  have 
given  them  in  all  the  principal  countries  of 
Europe,  with  the  exception  of  Greece,  Rou- 
mania,  and  Turkey.  I  have  also  given  a 
great  many  charity  concerts.  And  here  let 
me  call  attention  to  one  of  the  distinguish- 


Autobiography  of  Rubinstein.       113 

ing  features  of  Russian  society  ;  that  is, 
the  frequency  with  which  one  is  called 
upon  to  give  concerts  in  aid  of  the  stu- 
dents of  the  various  educational  establish- 
ments. This  is  a  charity  to  which  I  have 
never  been  asked  to  contribute  outside  of 
Russia.  Whenever  I  have  given  concerts 
abroad  for  benevolent  purposes,  it  has  usu- 
ally been  for  the  benefit  of  the  poor  of  one 
town  or  another,  or  to  aid  the  sufferers 
from  some  calamity,  or  for  the  benefit  of 
an  artists'  fund,  etc. ;  but  neither  in  Ger- 
many, nor  in  any  other  country  save  Rus- 
sia, have  I  been  asked  to  play  for  the 
benefit  of  students.^     This  is  all  the  more 

^  It  has  been  ascertained  that  during  the  twenty- 
eight  years  which  have  elapsed  since  the  foundation 
of  the  Conservatory,  Eubinstein  devoted  the  proceeds 
of  his  charity  concerts,  amounting  to  more  than  three 
hundred  thousand  roubles,  to  the  benefit  of  the  poor, 
and  to  other  good  works.  His  brother  Nicholas  also 
gave  generously  to  the  cause  of  charity.  During  the 
winter  of  1877-78  his  Saturday  and  Sunday  concerts 
in  Moscow  netted  the  sum  of  fifty-two  thousand  rou- 
bles for  the  benefit  of  the  Red  Cross  Society. 


1 14      Autobiography  of  Ritbinstcin. 

surprising,  because  university  education 
abroad  is  very  expensive.  ...  I  cannot 
explain  the  matter;  I  only  know  that  at 
home  I  have  repeatedly  been  asked  to  as- 
sist at  such  concerts,  and  have  often  given 
them  myself.  .  .  . 

In  1872  the  late  violinist  Henri  Wieni- 
&,wski  1  and  I  accepted  a  manager's  proposal 
to  make  a  concert  tour  in  the  United  States. 
Only  two  Russian  artists  had  ever  visited 
America,  —  Prince  Galitzin  and  Slavianski- 
Agr^nev.  The  contract  with  the  American 
manager  was  concluded  in  Vienna  through 
the  agency  of  the  attorney  Jacques.  I  was 
to  receive  two  hundred  thousand  francs,  half 
of  which  sum  was  deposited  by  the  manager 
in  the  bank  then  and  there.  According  to 
the  terms  of  the  contract,  he  had  no  right 

*  Wieniiwski  was  then  undoubtedly  the  finest  vio- 
linist. His  playing  was  extremely  brilliant ;  he  was 
a  bright,  witty  man,  but  somewhat  feeble.  While 
in  America  he  was  quite  well,  and  received  for  his 
tour  one  hundred  thousand  francs.  He  died  of 
dropsy  in  Moscow. 


Autobiography  of  Rubinstein.      115 

to  take  me  to  the  Southern  States,  the  whole 
route  being  clearly  defined  by  this  legal 
document.  For  a  time  I  was  under  the  en- 
tire control  of  the  manager.  May  Heaven 
preserve  us  from  such  slavery !  Under 
these  conditions  there  is  no  chance  for  art, 
—  one  grows  into  an  automaton  simply,  per- 
forming mechanical  work ;  no  dignity  re- 
mains to  the  artist,  he  is  lost.  .  .  . 

During  the  time  I  remained  in  America 
we  travelled  through  the  United  States  as 
far  as  New  Orleans,  and  I  appeared  before 
an  audience  two  hundred  and  fifteen  times. 
It  often  happened  that  we  gave  two  or  three 
concerts  in  as  many  different  cities  in  the 
same  day.  The  receipts  and  the  success 
were  invariably  gratifying,  but  it  was  all 
so  tedious  that  I  began  to  despise  myself 
and  my  art.  So  profound  was  my  dis- 
satisfaction, that  when  several  years  later 
I  was  asked  to  repeat  my  American  tour, 
with  half  a  million  guaranteed  to  me,  I  re- 
fused point  blank.     It  may  be  interesting 


ii6      Autobiography  of  Rubinstein. 

to  uote  that  the  contract  was  fulfilled  to 
the  letter. 

Wieniawski,  a  man  of  extremely  ner- 
vous temperament,  who,  owing  to  ill  health 
quite  often  failed  to  meet  his  appointments 
in  St.  Petersburg,  —  both  at  the  Grand 
Theatre  and  at  the  Conservatory,  —  never 
missed  one  concert  in  America.  However 
ill  he  might  be,  he  always  contrived  to  find 
strength  enough  to  appear  on  the  platform 
with  his  fairy-like  violin.  The  secret  of 
his  punctuality  lay  in  the  fact  that  by  the 
terms  of  the  contract  he  must  forfeit  one 
thousand  francs  for  every  non-appearance. 
The  proceeds  of  my  tour  in  America  laid 
the  foundation  of  my  prosperity.  On  my 
return  I  hastened  to  invest  in  real  estate. 
I  purchased  a  country  residence  in  Peter- 
hof,  and  in  1865  I  married.^  My  wife  has 
never  accompanied  me  on  my  travels,  and 

1  Rubinstein  married  Mile.  Vifera  Tchekuanov, 
and  has  three  children,  —  Jacob,  Anna,  and  Alexan- 
der. —  Tr. 


Autobiography  of  Rubinstein.      117 

on  these  occasions  I  have  employed  my 
leisure  moments  either  in  reading  or  in 
composing.  I  usually  wrote  my  librettos 
in  German  or  in  French  on  account  of  the 
difficulty  of  finding  Russian  librettists,  and 
the  consequent  delay  in  putting  the  opera 
on  the  stage.  The  libretto  of  "  Demon " 
was  written  at  my  request  by  Yiskovatov, 
professor  at  the  Dorpat  University  ;  that  of 
"  Goriisha  "  by  Dmitri  Avdrkiev. 

As  to  the  degree  of  musical  appreciation 
possessed  by  the  different  nations,  I  believe 
that  Germany  stands  to-day  at  the  head  of 
the  musical  world,  and  this  in  spite  of  the 
fact  that  she  is  eaten  up  with  pride  in  her 
patriotism, her  pietism,  and  sense  of  superior- 
ity to  all  other  countries.  Culture  has  but 
slender  chance  in  a  nation  so  absorbed  in 
its  bayonets  and  its  unity ;  but  in  spite  of 
all  these  drawbacks  it  must  be  confessed 
that  Germany  is  the  most  "  musical "  na- 
tion in  the  world. 

The  relative  knowledge  of  music  among 


Ii8      Autobiography  of  Rubinstein. 

Germans,  French,  and  English,  stated  arith- 
metically, would  be  somewhat  as  follows : 
of  the  German  people  at  least  fifty  per  cent 
understand  music  ;  of  the  French  not  more 
tlian  sixteen  per  cent;  while  among  the 
English — the  least  musical  of  people  — 
not  more  than  two  per  cent  can  be  found 
who  have  any  knowledge  of  music.  Even 
the  Americans  have  a  higher  appreciation 
of  music  than  the  English. 

I  speak  frankly,  but  without  malice,  for 
I  have  always  been  most  hospitably  re- 
ceived in  England.  .  .  .  But  while  I  am 
deeply  sensible  of  this  kindness  to  me,  I 
cannot  refrain  from  saying  that  their  igno- 
rance of  music  is  only  exceeded  by  their 
lack  of  appreciation.  The  children  of  xil- 
bion  may  resent  my  candor,  and  perhaps 
it  would  have  been  wiser  to  have  reserved 
my  opinion.  .  .  . 

In  America  we  find  a  little  more  music 
than  in  England.  .  .  .  But  it  is  only  in 
Germany  that   one   learns   to  what   noble 


Autobiography  of  Rubinstein.       119 

heights  it  may  attain.  In  France,  music 
has  a  special  part  assigned  to  it,  which  is 
in  a  prosperous  condition  and  well  appreci- 
ated ;  but  it  is  very,  very  different  from 
Germany.  In  no  other  land  do  we  find 
the  real  merit  of  musical  compositions  so 
quickly  discerned  and  accurately  valued  as 
in  Germany.  The  folk-songs  of  the  Rus- 
sians stand  alone.  .  .  .  Only  those  of  Swe- 
den and  Norway  are  worthy  to  be  compared 
with  them  for  enchanting  melody.  But  I 
must  not  say  too  much  in  praise  of  Rus- 
sian music,  lest  as  a  Russian  I  should  be 
suspected  of   partisanship. 

And  now,  with  the  supremacy  of  Bis- 
marck on  the  one  hand,  and  "Wagnerism 
on  the  other,  with  men's  ideals  all  reversed, 
dawns  the  critical  moment  for  music. 
Technique  has  taken  gigantic  strides,  but 
composition,  to  speak  frankly,  has  come 
to  an  end.  ...  Its  parting  knell  was 
rung  when  the  last  incomparable  notes  of 
Chopin  died  away.     It  may  prove   but   a 


120      Autobiography  of  Rubinstein. 

temporary  paralysis,  and  who  can  say  how 
long  it  may  endure  ?  Between  the  fifteenth 
and  seventeenth  centuries  painting  stood 
at  the  zenith  of  its  power,  but  during  the 
eighteenth  century  deterioration  set  in ;  and 
I  believe  that  music  is  passing  through  a 
similar  crisis.  .  .  .  When  and  how  it  will 
end  no  one  can  know.  One  thing  is  be- 
yond denial,  —  all  that  enchanted  us,  all 
that  we  loved,  respected,  worshipped,  and 
admired,  has  ended  with  Chopin. 


CHAPTER  XII. 

My  articles  on  music,  and  my  various  musical  works. — 
Historical  concerts  in  the  principal  cities  of  Europe. 

—  Entrance  upon  my  second  term  as  Director  of 
tlie  Conservatory.  —  My  memoranda  and  projects. 

—  Reforms  in  the  organization  of  music  in  Russia 
regarded  as  one  of  the  most  effective  instruments 
for  popular  education. 

1852-1889. 

RETURNING  to  the  subject  of  my 
activity  as  a  writer  on  music,  I  re- 
member that  in  the  first  number  of  the 
"  Yiek,"  a  periodical  started  in  1860  by  the 
late  B^zobr^sov  and  others,  I  wrote  an  arti- 
cle called  "  Music  in  Russia  "  on  the  subject 
of  dilettanteism  in  music,  violently  attacking 
the  dilettanti  amateurs,  who  have  wrought 
only  mischief  to  the  cause  of  music  in  Rus- 
sia. .  .  .  The  article  produced  a  commo- 
tion, and  a  torrent  of  abuse  descended 
upon  my  liead ;  but  even  now,  after  the 
lapse  of  thirty  years,  I  still  adhere  to  the 


122      Autobiography  of  Rjibinsiein. 

views  advanced  at  that  time.  It  must  be 
said  however  that  the  prevailing  dilettan- 
teism  against  which  I  had  waged  war  pre- 
vious to  the  foundation  of  the  Conservatory 
has  in  these  days  lost  its  baleful  influence, 
and  the  article  written  in  1860  has  lost  its 
former  significance. 

It  is  but  little  that  I  have  ever  written 
on  the  subject  of  music.  Some  years  ago 
1  wrote  an  article  in  German  ^  (which  was 
afterward  translated  into  Russian)  upon 
sacred  operas  or  oratorios,  and  another  in 
the  Leipsic  magazine  "  Signal "  in  answer 
to  a  proposition  made  to  me  to  undertake 
the  editing  of  a  series  of  musical  classics, 
—  an  important  scheme,  whose  develop- 
ment would  prove  a  valuable  contribution 
to  musical  knowledge.  Lately  I  have 
sketched  a  plan  for  drawing  up  by-laws,  ac- 
companied  by  notes  on  that  subject,  and 

^  Rubinstein's  letter  on  the  "  Geistliche  Oper," 
edited  in  Berlin  in  a  miscellaneous  collection  by 
Levinski  under  the  title  :  "  Vor  den  Kullissen." 


A  utohiography  of  Rubinstein.       123 

also  on  the  subject  of  Russian  music  in 
general,  which  I  hope  will  receive  a  legal 
sanction.  .  .  .  This  is  the  sum  of  my 
activity  in  that  line,  and  my  future  biogra- 
pher will  not  even  enjoy  the  pleasure  of 
collecting  my  correspondence,  since  it  has 
absolutely  no  existence.  I  am  not  a  friend 
to  the  pen,  and  especially  do  I  dislike 
letter-writing. 

I  have  no  means  of  recalling  the  data  of 
my  operas,  —  that  is  to  say,  of  their  com- 
position; and  the  date  of  representation 
would  be  of  no  assistance,  because  that 
often  took  place  long  after  they  were 
written.  I  remember  that  "Thomas  the 
Fool "  was  written  in  1852,  and  the 
"  Demon "  in  1871.  Several  years  ago 
the  latter  had  already  been  sung  over  one 
hundred  times,  but  whether  it  has  been 
given  five  times  since,  I  cannot  tell.  I 
never  addressed  the  slightest  request  or 
even  suggestion  to  the  directors  concern- 
ing my  musical  works.     They  may  do  as 


124      Autobiography  of  Rubinstein. 

they  please.  I  have  not  the  vaguest  idea 
why  "  Merchant  Kal^shnikov "  was  taken 
from  the  repertoire.  I  was  greatly  pleased 
to  learn  that  the  opera  was  approved  in 
high  quarters,  and  at  the  expressed  wish  of 
those  in  authority  it  was  again  reinstated  ; 
but  why,  notwithstanding  this  approval,  it 
was  after  two  or  three  performances  again 
withdrawn,  I  cannot  possibly  imagine. 
And  yet  the  fact  that  it  paid  well,  showed 
that  it  pleased  the  public.  The  "  Macca- 
bees," 1  written  in  1873-1875,  was  not  per- 
formed in  St.  Petersburg  until  1877.  My 
"  Nero  "  was  given  first  in  Hamburg.  In 
1885  I  wrote  my  comic  operas  "  With  the 
Brigands"  and  "The  Parrot." 

1  cannot  claim  that  my  operas  have  a 
warm  reception  at  the  hands  of  theatrical 
managers.     Very   often   when    they  have 

^  When  Count  Adlerberg  consented  at  last  to  put 
the  "  Maccabees  "  on  the  stage,  he  wrote  the  follow- 
ing order  :  "  It  may  be  given  providing  that  nothing 
is  spent  either  for  costumes  or  decorations." 


A  iitobiography  of  Ritbinstein .      125 

been  most  cordially  received  outside  my 
native  land,  our  own  managers  have  ut- 
terly ignored  them.  The  "  Demon  "  is 
given  very  seldom  of  late  years ;  the  "  Mac- 
cabees," not  at  all ;  while  "  Kalashnikov  " 
has  been  withdrawn  altogether.  .  .  . 

If  they  are  received  with  favor  in  the 
official  world,  it  is  only  because  of  influ- 
ence in  high  circles.  ...  I  may  be  mis- 
taken, but  I  believe  that  the  secret  of  the 
ill-will  on  the  part  of  the  management  is 
not  dislike  of  me  personally,  but  hostility 
to  the  Conservatory.  ...  I  have  never 
spoken  a  word  upon  this  subject  to  the 
directors,  who  are  changed  from  time  to 
time,  and  they  are  always  perfectly  civil 
to  me.  ...  It  must  be  acknowledged  that 
this  position  of  director,  not  in  Russia 
alone,  but  in  all  countries,  is  by  no  means 
to  be  coveted ;  and  if  I  were  asked  if  the 
post  of  director  were  not  more  difficult 
than  that  of  Minister  of  Foreign  Affairs,  I 
should  reply  in  the  affirmative. 


126       Autobiography  of  Rubinstein. 

The  oratorios  or  the  sacred  operas  of 
"  Paradise  Lost "  and  the  " Tower  of  Babel" 
were  written  many  years  ago,  —  the  former 
in  1854,  and  the  latter  about  1870.  The 
"  Moses,"  a  series  of  musical  tableaux,  also 
belongs  to  this  class  of  composition. 

I'  have  written  about  six  symphonies, 
but  most  of  them  have  no  name.  Those 
best  known  are  the  "  Ocean,"  the  "  Drama- 
tic," and  the  "  Russian."  Of  the  musical 
tableaux  may  be  mentioned  "  Ivan  the  Ter- 
rible," "  Don  Quixote,"  and  "  Faust ; "  the 
ballad  "  Lenore  "  and  the  "  Eroica,"  dedi- 
cated to  the  memory  of  Skobelev,  the  manu- 
script of  which  I  presented  to  the  Bogolubov 
museum  in  Saratov.  Among  my  earlier 
works  are  the  musical  illustrations  to  Kry~ 
lov's  fables :  "  The  Donkey  and  the  Night- 
ingale," "The  Cuckoo  and  the  Eagle," 
"The  Grasshopper  and  the  Ant,"  "The 
Crow  and  the  Fox,"  "  Parnassus,"  and  "  The 
Quartet ; "  and  among  the  more  recent  are 
the  operas  "  Sulamith  "  and  "  Gorusha."     I 


A  utobiography  of  Rubinstein .       127 

have  set  to  music  a  great  many  of  our  best 
poems;  but  at  present  I  have  wholly  for- 
gotten both  their  names  and  their  numbers. 
They  are  all  enumerated  in  the  catalogues, 
however. 

During  the  season  of  1885-1886  I  was 
able  to  execute  a  long  cherished  plan,  and 
to  celebrate  the  last  years  of  my  career  as 
a  virtuoso  by  a  series  of  concerts  to  be 
given  in  the  chief  cities  of  Europe.  These 
performances  were  intended  to  illustrate 
the  gradual  development  of  piano  music ; 
lectures  on  the  history  of  music  had  been 
given  before,  but  not  historical  concerts  on 
the  scale  that  I  proposed. 

I  gave  a  series  of  seventeen  concerts  in 
each  of  the  following  cities :  St.  Peters- 
burg, Moscow,  Vienna,  Berlin,  London, 
Paris,  and  Leipsic;  and  in  some  of  them 
every  concert  that  I  gave  in  the  evening 
was  repeated  the  next  day  for  the  benefit 
of  the  musical  students.  Both  morning 
and   evening  concerts   were   crowded.     It 


128      Autobiography  of  Rubinstein. 

was  really  a  great  undertaking.  I  played 
in  St.  Petersburg  and  Moscow  alternately, 
giving  two  concerts  in  the  one  city  and 
then  two  in  the  other,  until  fourteen  con- 
certs had  been  given  in  each  city.  I  had 
every  reason  to  be  satisfied  with  the  re- 
sult of  these  performances,  which  proved 
successful  in  all  respects.  I  suffered  no 
inconvenience  either  from  fatigue  of  body 
or  mind ;  my  memory  served  me  faithfully. 
Much  of  what  I  played  at  the  concerts  I 
had  studied  when  I  was  a  child.  .  .  .  And 
as  to  the  rest,  I  spent  one  summer  in 
studying  a  good  deal  of  the  music  that  I 
now  played  for  the  first  time.  I  have 
never  employed  a  prompter ;  indeed  I 
hardly  think  that  it  would  be  possible  to 
have  one.  The  financial  part  of  the  affair 
was  under  the  management  of  Wolf,  a 
special  agent  from  Berlin,  who  received  a 
certain  percentage  of  the  profits.  I  stepped 
upon  the  platform  with  my  mind  quite  free 
from  care  or  anxiety.     This  most  conve- 


A  tUohiography  of  Rubinstein .      129 

nient  arrangement  has  only  recently  been 
introduced  into  Russia.  Peterson  in  St. 
Petersburg,  Jurgenson  in  Moscow,  relieve 
the  artist  of  every  care  and  responsibility. 
In  regard  to  Peterson,  I  will  have  to  men- 
tion that  he  is  the  sole  proprietor  of  Bek- 
ker's  piano  manufactory,  and  all  rumors 
to  the  effect  that  my  savings  have  been 
invested  in  it  are  without  foundation. 

Early  in  the  year  1887,  I  resumed  the 
management  of  the  St.  Petersburg  Conser- 
vatory, and  in  March  of  the  same  year 
presented  a  memorial  to  the  Russian  Musi- 
cal Society  on  the  organization  of  popular 
theatricals  and  concerts.  The  object  of 
this  scheme  was  twofold,  —  to  introduce 
the  works  of  rising  composers,  and  to  give 
the  public  a  chance  to  enjoy  the  talents 
developed  by  the  Russian  conservatories. 
In  the  same  year  I  drew  up  a  project  for  a 
new  constitution  for  the  Conservatory, 
which  was  taken  under  consideration. 

The  status  of  music  in  Russia  and  the 
9 


130      Autobiography  of  Rubinsteiit. 


best  possible  way  of  directing  musical  edu- 
cation, greatly  interest   me.     I  have   also 
written  a  comprehensive  memorial  on  this 
subject.  ...  It  is  important  that  our  con- 
servatories should  be  under  the  administra- 
tion of  the  government.     The  universities, 
the   various   academies    (the   Academy   of 
Fine   Arts,  for  instance),  and   the   higher 
schools  are  all  under  the  control   of   the 
government,  and   it   should   be   the    same 
with  our  conservatories.     Individual  enter- 
prise and   the  energy  of   private  societies 
has  effected  their  organization,  but  after  an 
existence  of  thirty  years  there  is  no  reason 
why  these  schools  for  higher  musical  edu- 
cation should  remain   outside  the  pale  of 
governmental  care.     The  change  from  pri- 
vate control  to  that  of  the  government  can- 
not fail   to  produce  the  most  satisfactory 
results.    Moreover,  all  other  musical  schools 
should  be  made  dependent  on  the  conser- 
vatories, and  required  to  furnish  a  certain 
contingent  of  pupils.     It  would  be  well  to 


Autobiography  of  Rubinstein.      131 

establish  conservatories  in  all  the  principal 
centres  of  Russia,  in  St.  Petersburg,  Mos- 
cow, Tiflis,  Riga,  Warsaw,  Kiev,  Odessa, 
and  even  in  Omsk ;  the  more  numerous 
they  are,  the  better.  It  is  still  more  im- 
portant that  the  government  maintain  at 
least  two  conservatories ;  one  in  the  north 
of  Russia  should  be  for  instrumental  music, 
and  the  other  in  the  south  for  vocal  music. 
We  should  consider  the  advantages  of  our 
southern  climate  for  vocal  culture  and 
profit  by  them. 

If  the  Russian  government  were  to  as- 
sume the  superintendence  of  musical  edu- 
cation, —  a  most  important  factor  in  the 
civilization  of  its  people,  —  it  should,  I 
think,  make  an  effort  to  establish  the  opera 
in  the  capital  of  each  government.^  Sup- 
ported by  the  material  help  and  moral 
influence  of  the  government  with  the  co- 
operation of  the  governor  of  each  province, 
as  well  as  that  of  the  local  and  central 
^  Eussia  is  divided  into  fifty-two  governments.  —  Tb. 


132      Autobiography  of  Rubinstein. 

authorities,  this  would  not  prove  so  difficult 
an  undertaking  as  it  might  at  first  appear. 
There  would  be  no  lack  of  musicians  and 
singers  for  the  conservatories  and  the  mu- 
sical schools  of  some  of  the  governments. 
Kharkov,  Kiev,  Saratov,  Tiflis,  and  others 
have  already  for  more  than  a  quarter  of  a 
century  been  engaged  in  training  artists, 
who  only  ask  for  the  opportunity  to  prac- 
tise the  art  they  have  acquired  after  years 
of  patient  study.  And  with  the  birth  of 
new  conservatories,  under  the  care  and 
direction  of  the  government,  the  number 
of  musicians  will  increase,  and  there  will 
always  be  a  supply  ready  to  meet  the 
demand. 

It  is  an  undeniable  fact  that  our  provin- 
cial society  is  as  much  addicted  to  gam- 
bling as  our  lower  classes  are  to  drink, 
and  that  ignorance  prevails  among  all 
orders.  One  need  be  no  prophet  however 
to  foretell  the  results  that  will  spring  from 
the  beneficent  influence  of  a  permanent 


Autobiography  of  Rubinstein,       133 

opera  in  the  province.  The  standard  of 
morality  cannot  fail  to  rise,  and  surely 
that  is  a  consummation  devoutly  to  be 
wished,  and  one  which  the  government  in 
all  its  public  enterprises  seeks  or  should 
seek  to  promote.  Again  the  establishment 
of  provincial  opera  will  open  a  wider  field 
for  the  rapidly  growing  contingent  of  musi- 
cians, who  are  to  be  trained  in  these  con- 
servatories and  music  schools.  Not  until 
the  government  takes  this  matter  in  hand 
shall  we  emerge  from  the  present  miser- 
able condition  of  musical  affairs,  when 
Russia  supports  but  two  opera  troupes ; 
and  this  can  be  achieved  by  government 
alone.  We  know  too  well  the  result  of 
private  enterprise  in  the  provinces,  —  it 
almost  invariably  comes  to  grief. 

It  is  a  well-nigh  incredible  fact  that  we 
have  but  a  single  opera  troupe  in  each  of 
the  capitals ;  and  how  is  it  possible  to  be 
faithful  to  requirements  of  national  art  by 
giving  the  works  of  Russian  composers  and 


134      Autobiography  of  Ritbinstem. 

at  the  same  time  to  please  the  public  by 
frequent  repetition  of  foreign  operas,  as 
well  as  ballets  ?  It  would  require  the  en- 
tire time  of  one  troupe  adequately  to  repre- 
sent the  works  of  foreign  composers  of  the 
older  schools,  excluding  those  as  near  to 
our  time  as  are  Mozart  and  Meyerbeer. 
All  this  is  not  as  it  should  be ! 

While  I  am  speaking  of  the  provinces, 
let  me  suggest  that  the  encouragement  of 
the  opera  and  of  popular  concerts,  together 
with  musical  culture  in  general,  should  be 
included  in  the  duties  of  the  governors. 
And  I  believe  that  if  the  government  will 
but  turn  its  attention  to  this  subject,  giv- 
ing proper  directions  to  the  governors,  the 
marshals  of  nobility,  and  the  mayors,  and 
encourage  their  efforts,  this  project  cannot 
fail  to  succeed.  In  a  monarchical  country 
like  ours,  where  both  regime  and  govern- 
mental authority  are  very  strong,  where  it 
is  not  only  the  right  of  that  country,  but  its 
sacred  duty  to  care  for  and  to   guide  the 


Autobiography  of  Rubinstein.       135 

masses,  it  can  hardly  fail,  I  think,  to  give 
its  serious  consideration  to  the  establish- 
ment and  development  of  musical  training. 

And  futhermore,  I  would  urge  that 
classes  in  music  be  formed  in  every  educa- 
tional institution  to  whatsoever  grade  it  may 
belong,  not  merely  to  teach  the  boys  and 
girls  to  sing  songs  or  church  music,  but  to 
give  them  solid  instruction  in  the  funda- 
mental principles  of  music.  Look  at  Ger- 
many and  America,  and  see  how  they  do 
things  in  those  countries.  ...  I  demand 
no  useless  innovations ;  I  do  not  ask  for 
children's  orchestras,  like  one  I  saw  in  a 
school  in  St.  Petersburg,  for  that  takes  too 
much  of  the  children's  time ;  but  let  the 
first  elements  of  music  be  taught  in  all 
schools  as  one  of  the  regular  studies,  so 
that  every  boy  and  girl  may  have  learned 
the  alphabet  of  music  while  yet  in  school. 
Believe  me,  this  will  bring  forth  a  rich  har- 
vest. The  conservatories  must  maintain  a 
high  standard ;  and  the  right  to  grant  di- 


136   *  Autobiography  of  Rubmstcin. 

plomas,  such  as  are  given  after  a  close  ex- 
amination by  the  universities  and  other 
special  schools,  should  be  restricted  to 
them  alone.  That  is  the  only  method  by 
which  this  matter  of  diplomas  can  be  prop- 
erly controlled.  Every  instructor  in  the 
different  branches  of  music  should  be  re- 
quired to  show  a  certificate  from  the  con- 
servatories, granting  the  right  to  teach 
music  in  families  and  schools,  similar  to 
those  required  from  every  tutor  and  gover- 
ness who  teaches  the  common  branches, 
either  in  schools  or  in  private  families.  In 
regard  to  the  theatre,  I  do  not  hold  with 
those  who  would  cater  to  the  popular  taste 
by  representing  the  works  of  second-rate 
dramatists.  It  would  be  far  better  to  give 
those  of  Pushkin,  Gogol,  Goethe,  Shak- 
speare,  and  other  great  writers,  both  native 
and  foreign.  Let  us  not  minister  to  the 
cravings  of  the  ignorant  for  foolish  amuse- 
ment ;  what  satisfaction  can  there  be  for  a 
mujik  to  pay  even  fifteen  kopecks  to  see  on 


Autobiography  of  Rubinstein.  •   137 

the  stage  the  same  drunkard  in  sheepskhi 
whom  he  meets  in  the  pothouse  ?  If  the 
theatre  is  to  be  a  medium  of  education, 
let  it  be  above  the  people.  It  may  be  that 
at  first  the  lower  classes  will  find  sucli 
pieces  dull  and  uninteresting;  but  believe 
me,  it  will  not  be  long  before  they  will 
have  learned  to  appreciate  their  beauties, 
and  will  seek  the  theatre,  now  become  an 
instrument  of  civilization  for  the  masses. 
Much  has  been  written  and  spoken  on  this 
subject,  but  few  care  to  consider  in  ear- 
nest the  importance  of  the  matter,  and 
are  still  less  willing  to  do  their  part  to- 
ward promoting  its  realization. 

Between  1860  and  1870  much  has  been 
accomplished  in  the  direction  of  reform  in 
the  methods  of  musical  education  in  Russia. 
Very  little  had  been  done  for  music  before 
that  time ;  and  in  spite  of  the  genius  of 
Glinka,  Russian  opera  was  held  in  disfavor. 
Since  the  establishment  of  the  Russian 
Musical  Society  and  the   Conservatory,  a 


138       Autobiography  of  Rubinstein. 

network  of  musical  societies  and  music 
schools  has  gradually  covered  the  land. 
Thus  the  government  has  already  on  hand 
not  only  a  large  amount  of  musical  ma- 
terial, but  establishments  for  its  further 
production  ;  and  all  that  remains  now  is  to 
consider  the  musical  development  of  Russia 
a  State  affair,  and  to  place  conservatories 
and  musical  schools  in  the  Bureau  of  Pub- 
lic Instruction,  on  the  same  footing  with 
universities  and  gymnasiums. 

I  make  these  few  cursory  remarks  by 
the  way,  but  all  my  ideas  concerning  the 
proper  conditions  of  musical  establishments 
and  musical  education  in  Russia,  and  what 
should  be  done  to  promote  their  prosperity, 
I  have  set  down  systematically  and  in  de- 
tail in  a  separate  memorial. 

I  firmly  believe  that  in  view  of  the  deep 
interest  felt  by  the  highest  authorities  in 
this  noble  problem  of  civilization,  —  the 
liberation  of  the  masses  from  the  slough 
of  vice,  and  the  opening  out  to  them  of  a 


Autobiography  of  Rubinstein.       139 

means  of  moral  development  through  the 
medium  of  the  arts, —  many  of  my  pro- 
jects will  be  adopted,  and  ways  will  be 
provided  to  carry  them  into  execution  for 
the  benefit  of  our  beloved  country  and  the 
welfare  of  many  millions  of  the  Russian 
people. 

May  God  grant  this !  As  for  myself, 
the  ideas  which  I  have  striven  to  express 
are  confirmed  by  many  years  of  experience 
and  a  thorough  acquaintance  with  the  sub- 
ject in  question ;  and  I  can  truly  affirm  that 
my  sole  motive  has  been  to  serve  my  dear 
native  land  according  to  the  best  of  my 
knowledge  and  ability. 


ANTON  RUBINSTEIN. 


St.  Petersbttrg, 

October,  1889. 


SUPPLEMENT. 


EUBIXSTEIN  AS  A  COMPOSER. 

IT  is  too  soon  to  speak  of  Rubinstein  as  a 
composer ;  he  is  not  even  an  old  man, 
and  his  talent  is  in  full  vigor.  No  doubt 
he  will  yet  give  us  many  works.  The  fu- 
ture alone  can  determine  which  of  them 
will  go  down  to  posterity,  to  be  cherished 
as  precious  pearls  in  musical  literature. 
Even  now,  however,  the  characteristic 
features  of  the  famous  master's  composi- 
tions are  sufficiently  defined  to  enable 
us  to  determine  with  more  or  less  accu- 
racy the  rank  which  this  or  that  noted 
work  occupies  in  the  musical  literature  of 
the  present  day. 

While  yet  in  his  early  childhood,  Rubin- 
stein developed  the  gift  of  composition. 
His    artistic   nature   endowed  with   a   re- 


142       Autobiography  of  Rubinstein. 

markably  imaginative  feeling  for  melody, 
and  a  wealth  of  invention,  manifested  it- 
self at  every  turn.  Hardly  a  musical  form 
escaped  him,  and  there  are  but  few  of 
which  he  has  not  given  us  some  fine  ex- 
amples. Many  a  day  when  overborne  by 
hard  work  and  engrossing  outside  occupa- 
tions, he  would  seize  an  hour  to  devote 
to  his  favorite  occupation  of  composing. 
And  now  that  he  is  not  diverted  from  it, 
he  gives  himself  up  to  it  almost  exclusively 

If  we  cast  a  glance  at  the  catalogue  of 
Rubinstein's  compositions  we  shall  be  no 
less  surprised  at  the  number  of  them  than 
at  the  versatility  of  his  genius.  It  in- 
cludes five  symphonies,  five  concertos  for 
the  piano,  several  overtures,  trios  and 
quartets,  thirteen  operas,  two  oratorios, 
and  many  songs.  Only  one  richly  en- 
dowed with  the  gift  of  melody  could  have 
produced  them  all. 

Rubinstein's  melodies  are  for  the  most 
part  original,  although  sometimes  the  in- 


Autobiography  of  Rubinstein.       143 

fluence  of  Mendelssohn  may  be  felt ;  but 
the  majority  of  them,  as  in  the  "  Macca- 
bees," the  "Demon,"  the  "Tower  of  Babel," 
are  of  an  Oriental  character.  This  is  true, 
however,  of  all  Russian  music.  Some 
of  his  motifs  have  the  general  character  of 
European  music  and  often  remind  one  of 
Mendelssohn,  which  is  not  to  be  wondered 
at  when  we  remember  that  in  his  youth 
Rubinstein  was  under  the  influence  of  the 
Mendelssohnian  school ;  for  it  is  an  ac- 
knowledged fact  that  even  the  greatest 
composers  have  felt  the  influence  of  their 
predecessors. 

In  regard  to  the  forms  which  Rubinstein 
uses,  they  are  exclusively  old  classical,  and 
have  nothing  whatever  in  common  with 
Berlioz,  Wagner,  or  Liszt.  By  thus  per- 
sistently ignoring  the  progress  of  operatic 
and  dramatic  music,  the  compositions  of 
Rubinstein  have  certainly  gained  nothing. 

The  «  Battle  of  Kulik6vo,"  his  first  «  test 
opera,"  if  we  may  so  call  it,  which  met 


144       Autobiography  of  Rubinstein. 

with  a  certain  success,  was  written  in 
1850.  This  was  followed  in  1853  by  the 
one-act  opera  of  "  The  Siberian  Huntsmen  " 
and  "  Thomas  the  Fool ; "  the  latter  was 
given  but  once,  and  at  his  own  request 
withdrawn  from  the  stage.  A  three-act 
ballet  called  "The  Grape- Vine  "  was  never 
given  on  any  stage.  "  The  Children  of 
the  Steppes,"  written  in  1860  or  there- 
about, met  with  no  favor  when  it  was  pre- 
sented in  Moscow ;  and  in  the  opera  of 
"Vengeance,"  written  in  1853,  the  bac- 
chanalian song  of  Zulima,  "  Pour  to  the 
brim  the  noble  juice,"  alone  survives.  His 
lyric  opera  "Feramors,"  based  on  the  Orien- 
tal theme  of  Moore's  "  Lalla  Rookh,"  re- 
ceived some  notice.  Rubinstein  is  particu- 
larly devoted  to  Oriental  motifs^  and  in  such 
he  achieves  his  greatest  triumphs.  The 
"  Dances  of  the  Bayaderes  "  from  this  opera, 
and  the  aria  "  I  am  oppressed,"  have  won 
such  popularity  that  they  are  often  to  be 
found  on  concert  programmes.    This  opera, 


AiUobiogj'aphy  of  Rubinstein.       145 

although  popular  abroad,  was  not  a  fa- 
vorite in  Russia.  His  best  and  most  famil- 
iar opera  is  undoubtedly  the  "  Demon," 
written  in  1871,  and  given  both  in  St. 
Petersburg  and  Moscow  more  than  one 
hundred  times.  Its  first  performance  took 
place  in  St.  Petersburg  on  January  13, 
1873,  for  the  benefit  of  the  barytone  Mei- 
nikov.  Here  again  the  best  portions  of 
the  opera  are  those  in  which  the  author 
uses  Oriental  motifs,  —  such  as  the  "  Scene 
of  the  Caravan,"  the  "  Dance  of  the  Wo- 
men "  and  the  "  Lezghinka."  ^  This  opera 
was  .a  grand  success  both  at  home  and 
abroad ;  it  was  followed  by  the  "  Macca- 
bees," the  plot  of  which  is  taken  from  the 
Bible,  and  in  which  the  Greek  and  Hebrew 
elements  are  manifested  by  two  distinct 
styles.  The  distinguishing  characteristic 
of  this  opera  is  that  the  plot  is  not 
founded  on  love,  but  on  the  struggle  of 
two  nationalities  for  religion  and  indepen- 

1  Circassian  dance. 
10 


146      Autobiography  of  Rubinstein. 

dence.  It  greatly  resembles  an  oratorio, 
and  has  been  given  many  times  both  in 
Russia  and  abroad.  Berensdorf,  musical 
critic  of  Leipsic,  says  that  in  it  Rubin- 
stein has  stated  and  solved  the  whole 
problem,  and  that  this  music  is  remark- 
able for  its  brilliant  coloring,  its  wealth 
of  imagination,  and  its  inspiration. 

Then  came  "  Nero  "  and  "  Merchant 
KalElshnikov."  "  Nero "  is  written  on 
Barbie's  libretto,  and  is  in  four  acts  with 
eight  tableaux.  It  was  composed  for  the 
Paris  Grand  Opera^  and  was  sung  in 
Italian  in  Russia.  It  is  unnecessarily  long, 
and  crowded  with  useless  details  that 
hamper  the  action ;  the  characters  are 
numerous,  and  many  of  them  have  very 
difficult  roles.  The  greater  part  of  the 
opera  consists  of  recitatives  in  which  Ru- 
binstein is  by  no  means  at  his  best.  We 
miss  the  Oriental  element;  still  it  has 
many  fine  passages,  the  finest  of  which  is 
the  tableau  in  the  fourth  act,  where  Nero 


Autobiography  of  Rubinstein.       147 

is  haunted  by  the  shades  of  his  murdered 
victims.  "  Nero  "  is  no  longer  included  in 
the  repertoire. 

*'  Merchant  Kalashnikov  "  is  written  on 
Lermontov's  epic  poem  entitled  "  Song 
about  the  Czar  Ivan  Vassllievich,  the 
young  Oprichnik,^  and  the  gallant  mer- 
chant Kalashnikov."  It  is  in  three  acts 
with  four  tableaux,  and  was  put  on  the 
stage  under  the  direction  of  the  com- 
poser, and  received  with  crowded  houses 
in  St.  Petersburg  on  January  22  and 
February  25,  1880,  but  for  some  reason 
unknown  to  the  general  public  was  almost 
immediately  withdrawn  from  the  reper- 
toire. Those  who  heard  it,  speak  of  it 
with  enthusiasm,  as  of  an  opera  possessing 
remarkable  merit.  Here  the  motifs  are 
based  upon  Russian  folk-song,  and  the 
characters  are  eminently  Russian. 

^  Body-guard  of  the  czars,  who  rebelled  at  the 
accession  of  Peter  the  Great,  and  were  .by  him 
suppressed  altogether. 


148      Autobiography  of  Rubinstein. 

Rubinstein  had  before  now,  in  the  "  Bat- 
tle of  Kulikovo "  and  in  "  Thomas  the 
Fool,"  attempted  to  introduce  the  national 
element  into  his  operas,  without  much 
success.  But  the  character  of  Merchant 
Kalaslmikov  was  a  -perfect  success.  By 
this  opera  he  proved  his  ability  to  write 
Russian  as  well  as  Oriental  and  German 
music,  and  showed  that  he  was  not  to  be 
excluded  from  the  ranks  of  Russian  com- 
posers. "  Merchant  Kal^shnikov "  has  no 
prominent  female  r6le ;  the  part  of  Aliena 
is  purely  subordinate,  as  it  should  be,  to 
give  a  correct  idea  of  the  position  of  woman 
in  the  times  of  the  Bomostrdi}  The  dra- 
matic interest  rising  steadily  to  a  climax 
forms  one  of  its  chief  merits.  The  last  act, 
—  the  execution  of  the  hero  and  his  fare- 
well to  his  family,  —  produces  a  profound 
and  striking  impression.  All  the  charac- 
ters, that  of  the  opricJinik  Kiribeievich,  Ka- 
l^shnikov,  Nikitka  the  fool,  the  gossiping 
'  The  old  code  of  Russian  smnptuary  laws. 


•  Autobiography  of  Rubinstein.       149 

Solomonida,  the  Tartar  Chulubei,  and  the 
Czar  Ivan,  are  powerfully  and  sincerely 
drawn.  Aliena's  part  is  not  so  well  sus- 
tained ;  her  aria,  "  I  will  enter  the  sacred 
temple,"  in  spite  of  its  musical  beauty  is 
wholly  devoid  of  national  coloring.  The 
choruses  are  a  prominent  feature  of  the 
opera.  The  chorus  of  the  Oprichniks  in 
the  first  act,  written  in  the  ecclesiastical 
style,  is  very  impressive.  The  female 
chorus  of  neighbors  is  lively  and  realistic. 
Those  at  the  meeting  of  the  Czar  on  the 
Moscow  river,  and  that  of  the  execution  of 
Merchant  Kalashnikov,  are  also  worthy 
of  mention;  the  latter  is  accompanied  by 
the  ringing  of  bells.  The  dances  of  the 
jesters,  and  Nikitka's  song,  "  There  lived 
an  eagle  in  a  distant  land,"  are  also  fine. 
In  "  Merchant  Kalashnikov  "  as  well  as 
in  the  "  Maccabees  "  we  find  Rubinstein's 
orchestration  somewhat  monotonous ;  but  in 
the  former  there  are  fortunately  no  recita- 
tives.    Among  the  solos  we  may  mention 


150      Autobiography  of  Rubinstein. 

Kal^shnikov's  aria,  "  They  have  stolen  the 
bird  from  the  nest ; "  the  aria  of  Kiribeie- 
vich  in  the  first  act,  "  Oh,  our  sovereign 
Iv^n  Vassilievich  ;  "  and  also  Kal^shni- 
kov's  duet  with  Aliena,  "  Where  hast  thou 
been,  wife  "  etc.  On  the  whole,  the  opera 
has  many  pages  of  genuine  inspiration,  and 
might  have  become  as  great  a  favorite  as 
the  "  Demon "  if  it  had  not  been  unfortu- 
nately withdrawn  from  the  repertoire. 

His  last  two  comic  operas,  "With  the 
Brigands "  and  "  The  Parrot,"  as  well  as 
the  biblical  opera  "  Sulamith,"  were  pub- 
lished in  Germany. 

In  his  operatic  works,  Rubinstein  mani- 
fests a  disposition  to  follow  his  own  inspi- 
ration regardless  of  the  laws  laid  down 
by  this  school  or  that,  and  in  none  of 
his  compositions  is  the  peculiarity  more 
marked  than  in  his  symphonic  music. 
Few  of  his  symphonies  are  preceded  by 
the  usual  explanatory  programme  of 
modern  composers.     Brought  up  on  Ger- 


Autobiography  of  Ruhmstein.      151 

man  music,  he  follows  in   the  footprints 
of  Beethoven. 

Rubinstein  has  written  five  symphonies ; 
the  Second  is  called  the  "Ocean,"  the 
Fourth  the  "  Dramatic ; "  the  others  have 
no  titles.  The  Ocean  Symphony  was  writ- 
ten many  years  ago  and  from  that  time 
his  renown  as  a  composer  was  established. 
It  is  one  of  his  principal  works.  It  was 
originally  written  in  four  parts,  but  the 
author  afterward  added  two  movements, 
—  the  second  adagio  and  the  second  scherzo. 
The  musical  critic  Ambros  in  comparing 
it  to  Beethoven's  Pastoral  Symphony, 
likens  the  "  Sailor's  Dance "  (the  first 
scherzo)  to  the  "  Peasant's  Merry-making," 
and  the  final  choral  to  the  "  Glad  and 
grateful  feelings  after  the  storm"  in  the 
"Pastoral."  Ambros  alluded  to  the  discre- 
tion which  Rubinstein  showed  in  leaving 
the  storm  to  the  imagination  of  the  hearers. 
Afterward,  however,  and  as  if  by  inten- 
tion,   a    seventh    movement  was    added. 


152      Autobiography  of  Rubinstein. 

called  "  The  Storm,"  in  which  Rubinstein 
gave  evidence  of  his  thorough  knowledge 
of  technique. 

The  Fourth  Symphony,  in  D  minor,  may 
also  be  included  among  his  best  work,  and 
occupies  a  prominent  place  in  musical  lit- 
erature. In  the  beginning  of  the  decade 
of  1870  Rubinstein  made  a  prolonged  and 
exhaustive  tour  of  Germany,  giving  this 
symphony  to  admiring  audiences.  It  is 
rich  in  motifs  and  masterly  in  orchestra- 
tion. The  composer  introduces  the  instru- 
ments separately,  like  characters  in  an 
opera.  It  contains  long  monologues,  dia- 
logues, etc ;  hence  its  title  "  Dramatic." 
The  introduction  to  the  first  movement  is 
very  picturesque ;  the  scherzo  of  the  second, 
written  after  the  manner  of  Beethoven, 
animated  and  full  of  life,  offers  a  distinct 
contrast  to  the  emotional  adagio  that 
follows  it.  The  final  movement  is  rich 
in  color,  although  somewhat  long  in 
comparison  with  the  preceding  movements. 


Autobiography  of  Rubinstein ^       153 

The  Third  Symphony  has  been  less  fre- 
quently heard  in  the  concert  room.  The 
adagio  and  the  scherzo  of  this  symphony 
have  been  much  admired  for  their  beautiful 
motif  and  fine  instrumentation. 

The  Fifth,  the  so-called  "  Russian  Sym- 
phony, "  has  never  won  the  popular  favor. 
It  is  founded  exclusively  on  Russian  melo- 
dies, and  breathes  the  very  spirit  of  the  coun- 
try. The  allegro  with  its  characteristic 
Russian  dance,  performed  on  wooden  in- 
struments, is  very  spirited  ;  the  andante  is 
rather  long,  and  the  melodies  played  by  the 
horns  are  uninteresting  and  monotonous. 

Rubinstein  has  also  written  a  quantity 
of  concertos  and  chamber  music,  includ- 
ing three  characteristic  musical  portraits, 
*'Don  Quixote, "  "  Iv^n  the  Terrible,"  and 
«  Faust. " 

The  famous  orchestral  portrait  of  "  Don 
Quixote  "  may  be  reckoned  among  his  most 
successful  works.  The  argument  is  as 
follows  :  — 


154      Autobiography  of  Rubinstein. 

"The  reading  of  chivalric  romances  exalt- 
ing the  exploits  of  knights  errant  in  service 
of  fair  ladies  and  in  aid  of  the  oppressed  in 
general,  excite  in  Don  Quixote  a  desire  to  im- 
itate their  example;  whereupon  he  dons  the 
helmet  and  coat  of  mail,  and  sets  forth  on  his 
bony  steed  Rosinante.  His  first  encounter  is 
with  a  flock  of  sheep,  whom  he  disperses,  and 
encouraged  by  the  success  of  this  exploit  pur- 
sues his  journey.  A  little  farther  on  he  meets 
three  peasant  women  singing  cheerfully  at 
their  work,  one  of  whom  he  selects  for  the 
lady  of  his  love,  —  his  Dulcinea.  He  declares 
his  passion,  and  vows  to  perform  all  his  fu- 
ture deeds  of  prowess  in  her  honor.  The  peas- 
ant women,  taking  him  for  a  madman,  laugh 
in  his  face  and  run  away.  Don  Quixote 
seems  perplexed ;  but  still  hoping  to  win  re- 
nown by  his  future  exploits  he  goes  on  his 
way.  He  next  falls  in  with  a  band  of  crimi- 
nals being  led  to  execution,  whom  he  takes 
for  the  innocent  victims  of  despotism,  and 
straightway  determines  to  set  them  free.  He 
attacks  the  guards  and  puts  them  to  flight, 
but  in  the  course  of  a  discussion  into  which 
he  enters  with  the  liberated  criminals  he  irri- 


Autobiography  of  Rubinstein.       155 

tates  them  ;  they  fall  on  him,  and  give  him  a 
sound  drubbing.  Here  follows  the  worthy- 
knight's  despair.  He  sees  his  folly,  and 
dies. " 

Such  are  the  incidents  which  Rubinstein 
has  selected  for  his  musical  portraiture. 
He  has  illustrated  only  the  humorous  side 
of  Don  Quixote's  career  ;  the  fundamental 
conception  of  the  romance, —  that  Don  Quix- 
ote is  a  man  of  lofty  ideals,  ready  to  die  for 
truth  and  justice,  —  does  not  lend  itself  to 
music,  and  Rubinstein  has  chosen  only  de- 
tached incidents,  such  as  may  be  described 
by  music.  He  handles  this  theme  in  his 
usual  masterly  manner.  All  in  it  is  es- 
sential, nothing  superfluous.  The  work 
has  been  arranged  for  four  hands  by 
Tchaik6vski. 

The  second  musical  portrait,  "  Iv^n  the 
Terrible,"  was  performed  at  a  concert  in 
Smolensk  on  the  20th  of  May  1885,  on  the 
occasion  of  the  unveiling  of  GUnka's  mon- 
ument.    The  first  allegro  describes  the  wild 


15^       Autobiography  of  Rubinstein. 

orgies  of  the  Oprichnihs,  the  Czar's  wrath, 
his  repentence  and  prayer,  the  groans  of 
the  suffering.  In  vivid  colors  the  composer 
depicts  the  sentiments  aroused  by  the  con- 
templation of  that  period.  It  is  one  of 
Rubinstein's  best  works  on  a  Russian 
theme. 

"Faust"  is  the  third  musical  portrait. 
In  treating  this  subject  Rubinstein  seems 
to  have  been  attracted  by  the  lyric  side  of 
the  tragedy ;  it  is  therefore  free  from  the 
confusion  and  discord  which  other  compos- 
ers have  employed  in  depicting  Faust's 
state  of  mind  and  the  aspect  of  Mephistoph- 
eles.  A  quartet  of  strings  plays  the  chief 
part  in  a  smoothly  flowing  harmonious 
discourse. 

Among  Rubinstein's  most  important  or- 
chestral works  "  Russia  "  and  the  "  Eroica  " 
may  be  included. 

"  Russia "  was  written  on  the  occasion 
of  the  opening  of  the  Russian  Exposition 
of  the  Arts  and  Trades,  and  offers  a  me- 


Autobiography  of  Rubinstein.       157 

chanical  combination  of  motifs  represent- 
ing the  various  nationalities  that  people 
that  vast  country. 

The  "  Eroica  "  is  said  to  have  been  writ- 
ten on  the  death  of  Sk6belev.  Both  these 
works  show  signs  of  haste,  with  little  or 
no  inspiration.  The  counterpoint  devel- 
opment of  the  themes,  however,  is  ex- 
tremely interesting. 

Glancing  rapidly  over  Rubinstein's  cham- 
ber and  concert  music,  we  will  mention 
only  a  few  of  the  more  important  works. 
It  is  a  department  in  which  he  has  shown 
himself  prolific.  Here  we  may  find  octets, 
sextets,  quintets,  trios,  and  concertos  for 
the  piano,  violin,  violoncello,  etc. 

The  Cr  minor  quintet.  —  In  this  quintet 
the  score  for  the  piano  predominates.  It 
opens  with  an  introduction  suggestive  of 
the  theme  of  the  allegro  \  that  follows,  — 
a  theme  which  deepens  to  pathos  in  the 
next  motif,  constructed  on  a  simple  minor 
triad.     Its  simplicity  positively  amazes  the 


158       Autobiography  of  Rubinstein. 

listener.  In  the  second  movement  the 
scherzo  has  a  motif  of  a  Russian  type, 
quite  original  and  graphic ;  the  third 
movement,  an  adagio,  resembles  the  music 
of  the  Greek  Church ;  the  finale  some- 
what wearies  the  listener  by  its  long-drawn 
thematical  development,  but  we  also  meet 
many  new  melodies,  only  one  of  which  has 
a  national  character.  As  we  have  before 
stated,  Rubinstein  was  brought  up  on  the 
German  classics,  and  rarely  uses  Russian 
melodies  ;  they  seem  to  have  had  no 
influence  whatever  upon  the  charac- 
ter of  his  compositions  and  to  have  in- 
terested him  only  from  a  musical  point 
of  view. 

Rubinstein  wrote  five  trios,  two  of  which 
— one  in  F  major  and  the  other  in  G  minor, 
written  long  before  the  others,  when  he  was 
under  the  influence  of  Mendelssohn  —  are 
extremely  interesting.  Yon  Bulow's  state- 
ment that  Rubinstein's  style  is  not  unlike 
that  of  Beethoven  is  correct  as  regards  the 


Autobiography  of  Rubmstein,       159 

B  major  trio,  although  even  here  the  imi- 
tation of  Mendelssohn  is  evident.  In  this 
trio  the  andante-  shows  intense  dramatic 
power. 

Rubinstein  wrote  five  concertos  for  the 
piano;  the  majority  of  his  concertos  rcr 
quire  from  the  performer  a  perfect  tech- 
nique^ and  a  knowledge  of  the  effects  which 
may  be  produced  on  the  instrument.  All 
his  concertos  have  an  intrinsic  meaning, 
and  the  significance  of  the  theme  is  skil- 
fully worked  out. 

To  this  class  belongs  the  "  Caprice  Russe," 
dedicated  to  the  famous  pianist  Madame 
Essipov.  It  is  a  fantaUie  on  various  Rus- 
sian songs,  with  an  orchestral  accompani- 
ment. The  motifs  of  this  fantaisie  are 
delicately  worked  out.  After  several  va- 
riations played  by  the  orchestra  on  a  slow 
and  rhythmical  Russian  melody,  the  piano 
takes  up  the  same  air  with  all  the  inter- 
vals reversed.  This  method  in  counter- 
point gives   us   a  charming  new  melody, 


i6o      Autobiography  of  Rtibinstein. 

which  comes  in  at  the  end  of  this  move- 
ment in  the  major  key  and  forms  the  last 
motifs  for  which  the  composer  makes  a  de- 
lightful accompaniment  on  the  piano,  using 
it  at  the  same  time  by  the  way  of  transi- 
tion to  the  next  triumphal  song.  This 
song  is  played  by  the  orchestra  with  a 
brilliant  accompaniment  of  piano,  after 
which  the  first  slow  air  reappears  in  the 
piano  score,  while  at  the  same  time  we 
hear  from  the  orchestra  a  third  merry 
dance-song,  upon  which  the  whole  jinale 
is  constructed,  bringing  in  the  three  melo- 
dies simultaneously. 

We  will  but  touch  upon  Rubinstein's  les- 
ser piano  works,  most  of  which  contain 
interesting  musical  conceptions,  and  are 
known  under  the  name  of  "  Miscellaneous." 
Opus  93,  composed  of  nine  numbers,  de- 
serves special  mention. 

No.  1.  The  Ballad  of  Lenore.  —  Th\s 
work  belongs  to  the  programme  music. 
It  was  written  on  the  theme  of  Biirger's 


Autobiography  of  Rubmstein.      i6i 

famous  ballad.  Lenore  awaits  the  re- 
turn of  her  betrothed  from  the  war.  Peace 
is  concluded,  and  the  troops  come  march- 
ing home  with  beating  of  drums  and  mar- 
tial -music.  Vainly  she  looks  for  the  face 
of  her  loved  one  ;  he  has  perished  in  the 
battle.  Deaf  to  the  words  of  her  mother, 
who  strives  to  comfort  her,  Lenore  curses 
her  fate.  That  night  a  trooper  appears  to 
her,  bids  her  to  follow  him  and  share  his 
home,  —  the  grave.  All  night  they  gallop 
over  hill  and  vale,  till  they  come  to  the  grave- 
yard. Rubinstein  illustrates  this  theme 
with  picturesque  details ;  we  feel  Lenore's 
sadness,  we  hear  the  military  march  of  the 
returning  troops,  and  the  mad  galloping  of 
the  rider  with  his  beloved. 

No.  2.  Variations  on  an  American  na- 
tional air.  —  This  work  consists  of  an  in- 
troduction and  a  theme  with  thirty-nine 
variations,  followed  by  a  Dilmka  ^  and  a 
Polonaise  (dedicated  to  Mademoiselle  Ter- 

^  "  Diimhi  "  is  a  geiire  of  Riithenian  song. 
11 


1 62      Autobiography  of  Rubinstein. 

minski),^  the  first  of  which  is  tinged  with 
a  deep  melancholy. 

No.  4  contains  two  Russian  serenades, 
studies,  a  scherzo,  a  barcarolle,  and  two 
morceaux  (Nos.  5,  6,  7,  8),  all  specimens 
of  an  attractive  style  of  music.  The  last 
number,  "  Miniatures,"  consists  of  twelve 
pieces,  the  more  prominent  of  which  are, 
"At  the  Brook,"  "Serenade,"  "Oriental 
March,"  and  "  Cradle  Song,"  In  this  class 
may  be  included  the  popular  "  Valse  Ca- 
price," which  has  achieved  an  immense 
success. 

"We  may  likewise  mention  his  "  Bal  Cos- 
tum^,"  several  numbers  of  which  have  been 
arranged  for  the  orchestra  by  Ermansdor- 
fer.  It  consists  of  twenty  numbers,  and  is 
remarkable  for  the  brilliancy  of  coloring 
with  which  the  different  nationalities  are 
indicated.  We  must  not  forget  to  men- 
tion his  concertos  for  violin  and  violon- 
cello, for  they  help  to  supplement  the 
*  A  well-known  Russian  pianist. 


Autobiography  of  Rubinstein.      163 

rather  scanty  contributions  to  this  class 
of  musical  literature.  The  A  minor  vio- 
lin sonata,  Opus  19,  is  rich  in  musical 
effects. 

He    has    also    written    a    great    many 
songs. 


RUBINSTEIN  AS  A  PIANIST. 

"We  must  devote  a  brief  space  to  the  con- 
sideration of  Rubinstein  as  a  pianist. 

His  first  appearance  on  the  concert  plat- 
form is  contemporary  with  the  birth  of  mu- 
sical criticism.  There  can  be  no  simpler 
means  of  introducing  the  reader  to  the  char- 
acteristics of  Rubinstein  as  a  pianist,  than 
to  quote  the  opinions  of  several  well-known 
musical  critics. 

This  is  what  Brachvogel  has  written  con- 
cerning him :  — 

*'No  artist  has  ever  before  shown  to  his 
audience  so  merciless  a  front.     Both  his  pro- 


164      Autobiography  of  Rubinstein. 

grammes  and  his  attitude  are  absolutely  un- 
compromising. At  first  sight  one  is  conscious 
of  something  stern,  even  inimical  in  his  bear- 
ing toward  his  audience,  as  though  a  chasm 
were  fixed  between  them,  and  he  stood  ready 
to  plunge  single-handed  into  the  conflict ;  but 
gradually  the  sense  of  hostility  vanishes, 
and  the  great  artist  conquers  once  and  forever. 
Rubinstein  has  no  idea  of  descending  to  the 
level  of  popular  taste,  he  can  only  raise  his 
audience  to  his  own  plane.  It  is  enough 
to  look  in  his  face  to  understand  what  it 
all  means.  He  has  the  head  of  an  inspired 
sphinx,  upon  whose  face  not  even  the  par- 
oxysms of  enthusiasm  call  forth  a  smile. 
Did  not  the  color  of  life  illumine  it,  it 
might  be  of  stone.  Those  who  have  heard 
his  playing  will  never  forget  it." 

Hanslick  thus  characterizes  Rubinstein's 
playing :  — 

"We  always  follow  Rubinstein's  playing 
with  a  sense  of  infinite  delight.  His  youth- 
ful and  untiring  vigor,  his  incomparable  power 
of  bringing  out  the  melody,  his  perfection  of 
touch  in  the  stormy  torrents  of  passion,  as 


Autobiography  of  Riibinsteiii.       165 

well  as  in  the  tender  long-drawn  notes  of 
pathos,  his  wonderful  memory,  and  his  energy 
that  knows  no  fatigue,  —  these  are  the  quali- 
ties which  amaze  us  in  Rubinstein's  playing. 
His  rendering  of  Chopin's  B  minor  Sonata  is 
indeed  wonderful;  he  plays  the  first  movement 
tempestuously,  giving  to  it  the  atmosphere  of 
passionate  gloom;  the  funeral  march  is  stern 
and  sustained;  the  mighty  crescendo  at  the 
beginning  of  the  trio,  and  the  gradual  decres- 
cendo  after  it,  is  a  brilliant  innovation  of  his 
own.  But  in  the  finale  he  takes  such  an  as- 
tounding prestissimo  that  all  accents  are  lost, 
and  only  a  gray  cloud  of  dust  seems. to  hover 
before  the  dazed  listener,  who  simply  waits 
for  the  last  note  that  he  may  open  his  eyes 
and  draw  a  long  breath  of  relief.  Therefore 
young  virtuosi  must  beware  of  imitating  the 
excesses  of  Rubinstein's  playing,  rather  learn- 
ing from  him  to  play  with  expression,  keep- 
ing all  the  while  strict  watch  over  the  tempo. 
The  sentimental  fluctuations  of  the  measure 
by  which  young  pianists,  and  lady  pianists  in 
particular,  disfigure  the  noblest  inspirations  of 
Chopin,  is  unendurable  to  Rubinstein.  One 
finds  no  vestige   of  this  caricature   of  tempo 


1 66       Autobiography  of  Rubinstein. 

ruhato,  or  any  affectation  whatsoever  in  Ru- 
binstein's playing.  It  is  a  delight  to  listen  to 
him,  in  the  highest  and  most  sincere  sense  of 
the  word.  A  vigorous  and  wholesome  current 
of  feeling  flows  so  refreshingly  over  the  hearer 
that  he  receives  the  impression  of  having  been 
in  a  musical  symposium,  to  the  unspeakable 
delectation  of  his  ear. 

"The  merits  of  Rubinstein's  playing  are 
sought  principally  in  his  elementary  power, 
and  from  this  same  source  spring  likewise 
many  of  his  faults.  With  years,  however, 
his  playing  has  become  more  equal.  The 
bewitching  beauty  of  his  tones,  the  power 
and  delicacy  of  his  touch  have  now  reached 
their  climax.  One  seldom  finds  in  contem- 
porary pianists  that  genuine,  spontaneous  in- 
ward fervor  which  in  the  heat  of  passion 
dares  all  things,  even  to  indiscretion,  rather 
than  pause  to  reason  and  reflect.  Where 
reflection  is  absent  there  may  be  heard  the 
overwhelming  voice  of  the  passions  and  the 
heart-strings  echoing  in  response.  Rubin- 
stein's temperament  is  of  such  compelling 
force  that  exhausted  Europe  j-ields  submis- 
sion to  his  will." 


Autobiography  of  Rubinstein.       167 

The  following  is  taken  from  the  criticism 
of  the  well-known  Russian  critic  Leven- 
sohn,  who  wrote  it  a  few  years  ago  under 
the  immediate  influence  of  Rubinstein's 
concerts  in  Moscow :  — 

"Many  years  ago  the  famous  historiail 
Thomas  Carlyle,  in  his  lecture  on  'Hero- 
Worship/  says  in  effect:  Nothing  so  ele- 
vates mankind  as  the  worship  of  men  of 
genius.  However  much  the  eternal  cavil- 
lers may  strive  to  pick  flaws,  the  enthusiasm 
of  those  who  have  truly  learned  to  love  great 
men  with  all  the  strength  of  their  souls  will 
suffer  no  loss.  This  is  the  kind  of  feeling  in- 
spired by  Rubinstein.  Can  there  be  a  higher 
delight  for  the  man  who  loves  and  appreci- 
ates music  than  to  see  and  hear  the  man  of 
genius  ?  In  listening  to  Anton  Riibinstein, 
one  receives  an  impression  not  unlike  that 
produced  by  some  magnificent  display  of  the 
elements.  His  creations  at  the  piano  are  as 
spontaneous  as  those  of  Nature  herself,  and 
this  is  the  secret  of  his  personal  influence. 
His  repertoire  embraces  the  entire  range  of 
compositions,    beginning  with   the  works   of 


1 68       Autobiography  of  Rubinstein. 

Handel  and  ending  with  his  own.  His  pas- 
sionate temperament  often  carries  him  be- 
yond the  lawful  boundaries  ;  for  instance,  he 
takes  too  rapid  a  tempo  in  the  prestissimo  of 
Beethoven's  Sonata,  Op.  109,  hindering  the 
listener  from  following  in  detail  this  despe- 
rate soul-shriek ;  he  also  plays  Chopin's  F 
major  Ballad  too  rapidly.  On  the  other  hand, 
the  beauty  of  certain  compositions  is  never 
fully  appreciated  until  we  hear  them  inter- 
preted by  Rubinstein.  Thus  in  Chopin's 
Nocturne,  Op.  37,  the  heart-rending  wail  is  in- 
terrupted by  a  succession  of  Palestrina-like 
chords.  In  Rubinstein's  rendering,  it  is  as  if 
these  chords  were  played  on  the  organ.  We 
feel,  however,  that  these  religious  strains  fail 
to  soothe  the  suffering  soul.  The  desperate 
cry  is  renewed  and  grief  resumes  its  sway. 
This  soul-picture  of  a  lonely  sufferer,  Avho 
seeks  consolation  in  religion  and  fails  to  find 
it,  —  such  is  the  theme  of  this  nocturne, 
which  becomes  intelligible  in  Rubinstein's 
rendering.  Por  another  example  take  the 
last  variation  in  Beethoven's  Sonata,  Op.  109, 
with  that  never  ending  ttill,  which  passes 
through   several   octaves ;   you  feel  yourself 


Autobiography  of  Rubinstein.       169 

in  the  presence  of  a  sphinx.  But  lo !  beneath 
the  fingers  of  Eubinstein  this  labyrinth  of 
sounds  becomes  an  almost  indistinguishable 
murmur,  and  through  this  murmur,  penetra- 
ting it  like  a  sunbeam,  comes  the  E  major 
theme ;  then  you  see  the  necessity  of  the  pre- 
ceding chaos. 

"  From  out  the  numberless  proofs  of  genius 
of  which  his  playing  gives  evidence,  we  will 
select  his  rendering  of  Handel's  theme,  with 
its  beaded  ornamentations  (known  in  the  old 
times  under  the  name  of  agrements),  the  sec- 
ond variation  of  this  air  executed  by  octaves 
in  the  bass,  and  the  wonderful  transition  from 
the  lower  to  the  higher  register  in  the  second 
theme  of  Beethoven's  C  major  Sonata,  Op. 
53;  indeed  the  grandeur  of  his  rendering  of 
that  sonata  cannot  be  too  highly  praised. 
His  daintiness  of  execution  in  Schumann's 
'Traumes-Wirren'  and  'Vogel  als  Prophet,' 
as  well  as  the  '  singing '  of  the  second  theme  in 
Chopin's  B  minor  scherzo,  reminds  one  of  his 
own  far-away  childhood  and  the  happy  days 
of  youth,  now  gone  forever,  that  visited  us  ere 
we  plunged  into  the  turmoil  of  life.  Were 
we  to  recall  all  the  moments  wherein  Rubin- 


170       Autobiography  of  Rubinstein.  ' 

stein  stirs  the  soul  of  his  hearer,  we  should 
never  have  done. 

"  Why  allude  to  the  technique  of  this  man 
of  genius  ?  Here  also  he  differs  from  all 
others,  and  sets  at  defiance  formerly  accepted 
methods.  How  is  one  to  play  the  rapid 
octave  accompaniment  of  the  Schubert-Liszt 
'  Erl  Konig '  ?  Any  professor  will  tell  you  to 
do  it  with  a  light  wrist,  and  the  middle  fingers 
extended.  And  what  does  Rubinstein  do  ? 
He  curves  the  middle  fingers  and  raises 
the  wrist,  so  that  the  fingers  that  play  the 
octaves  instead  of  falling  sideways  on  the 
keys  strike  with  their  tips  as  with  a  hammer. 
By  this  method  the  octaves  are  played  with 
ease  and  freedom,  whereas  in  the  rendering 
of  other  pianists  one  is  always  sensible  of 
the  effort.  There  is  no  living  pianist  who 
could  imitate  him  in  this.  It  is  his  own 
invention  and  a  manner  peculiar  to  himself. 
An  Oriental  on  meeting  a  man  of  genius 
says  a  special  prayer  for  the  occasion.  We 
too  have  our  own  way  of  expressing  our 
enthusiasm.  One  can  realize  the  excitement 
of  the  public  at  each  appearance  of  Rubin- 
stein only  in  witnessing  it." 


A  utohiography  of  Rubinstein .       171 

In  January  1889'  Rubinstein  played  in 
Moscow  for  the  last  time  ;  and  as  he  came 
upon  the  stage  at  the  close  of  the  perform- 
ance to  make  his  final  bow  of  acknowledge- 
ment, the  lid  of  the  grand  piano  was 
locked.  He  made  one  pathetic  gesture  of 
farewell,  and  disappeared  from  the  concert- 
room  forever. 


THE   END. 


nr\L. 

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